Publisher: Rout ledge
I nform a Lt d Regist ered in England and Wales Regist ered Num ber: 1072954 Regist ered
office: Mort im er House, 37- 41 Mort im er St reet , London W1T 3JH, UK
Teaching Artist Journal
Publicat ion det ails, including inst ruct ions f or aut hors and subscript ion inf ormat ion:
ht t p: / / www. t andf online. com/ loi/ ht aj 20
Public Art Education in Brunei
Darussalam: The Cultural Language of
Community Murals
Kong Ho a a
Universit y of Brunei Darussalam Published online: 23 Dec 2013.
To cite this article: Kong Ho (2014) Public Art Educat ion in Brunei Darussalam: The Cult ural Language of Communit y Murals, Teaching Art ist Journal, 12: 1, 24-36, DOI: 10. 1080/ 15411796. 2014. 844627
To link to this article: ht t p: / / dx. doi. org/ 10. 1080/ 15411796. 2014. 844627
PLEASE SCROLL DOWN FOR ARTI CLE
Taylor & Francis m akes every effort t o ensure t he accuracy of all t he inform at ion ( t he
“ Cont ent ” ) cont ained in t he publicat ions on our plat form . How ever, Taylor & Francis,
our agent s, and our licensors m ake no represent at ions or warrant ies w hat soever as t o
t he accuracy, com plet eness, or suit abilit y for any purpose of t he Cont ent . Any opinions
and view s expressed in t his publicat ion are t he opinions and view s of t he aut hors,
and are not t he view s of or endorsed by Taylor & Francis. The accuracy of t he Cont ent
should not be relied upon and should be independent ly verified w it h prim ary sources
of inform at ion. Taylor and Francis shall not be liable for any losses, act ions, claim s,
proceedings, dem ands, cost s, expenses, dam ages, and ot her liabilit ies w hat soever or
how soever caused arising direct ly or indirect ly in connect ion w it h, in relat ion t o or arising
out of t he use of t he Cont ent .
Correspondence regarding this article should go to:
Kong Ho
Faculty of Arts & Social Science Universiti Brunei Darussalam Jalan Tungku Link, Gadong BE1410, Brunei Darussalam
kongho99@gmail.com
Kong Ho projects in Brunei offer insight into the specific and universal aspects of public art education and community art making.
Public Art Education in
Brunei Darussalam: The Cultural
Language of Community Murals
This article is about how I used my initiative and experience as a muralist to plan and then implement two community art research projects in Bandar Seri Begawan, the capital of Brunei Darussalam. A premise of these projects was that collaborative art learning and practice-based experience in community murals can bring greater understanding of the visual arts as a cultural tool for understanding socially based ideas and concepts. Due to the differences in style, scope, materials, and execution of these mural projects, they are presented as separate case studies in this article. In this article I first focus on the community mural painting project, Transcending Culture and Space: A Community Art Project, a movable mural project with several subfeatures that have been broken down into learning and production categories for the purpose of analysis, and then I show how this first case study links up with my more self-contained second case study, Visions of Brunei: A Cultural Free-to-All Visual Experience of Digital Hybrid Mural.
Visual Arts Research at
University of Brunei Darussalam
The community mural, whether a traditional wall-painted mural or contemporary digitally printed transportable mural, is a relatively new art form in Brunei Darussalam’s creative industries and public art education. Only a few mosaic murals created by established individual local artists in Brunei after its independence in 1984 existed before the present time. The recently completed
Transcending Culture and Space: A Community Art Project and
Visions of Brunei: A Cultural Free-to-All Visual Experience of Digital Hybrid Mural were two public community art projects that exemplify current innovative and community-based art education practices.
Any artistic research in community art requires a budget equal to the cost of investigating and conducting work on a large scale.
Similar to other social sciences research, each artistic research may require a particular space, equipment, technology, and materials to carry out the related research. Also, the outcome of an artistic research may be in form of an exhibition, workshop, presentation, documentation, and/or non-peer-reviewed article rather than just a peer-reviewed publication. However, the University Research Committee (URC) at University of Brunei Darussalam (UBD) is more conservative and considers only peer-reviewed journal publication as the significant outcome of any academic research. Therefore, most artistic research is not funded, or only partially sponsored by the URC.
Similarly, any visual art program requires a certain budget to sustain or develop the art studio’s facilities, equipment, and materials. The Art and Creative Technology (ACT) program at UBD is very young with less than four years development. Therefore, most art studios are either underequipped or without any basic art studio equipment for teaching painting, drawing, ceramics, sculpture, design, photography, and digital media. Also, there is no annual art budget allocated from UBD or from the Ministry of Education (MOE) to individual programs of UBD, which is an enormous obstacle to Art and Creative Technology curriculum development.
The higher education system in Brunei Darussalam is different from most autonomous universities in the United States. According to the Southeast Asian Ministers of Education Organization– Regional Institute for Higher Education & Development, UBD falls under the MOE but is quite autonomous from the MOE. Administratively, UBD is self-governing, but there are still some links with the MOE, especially in allocating the university budget and research grants. At the same time, UBD is transitioning from being a fundamental teaching university to a research institute. So the criteria for faculty renewal and promotion emphasize individual faculty’s research and publications.
Artistic research or practice-based research is a kind of intellectual qualitative research with a focus on the arts. Eminent art historian Sir Ernest Gombrick (1909–
2001) drew on the statement of philosopher of science Sir Karl Popper (1902–1994) that there are parallels between the scientific laboratory and the artistic studio as work place where hypotheses are tested. Gombrick drew equivalence for Popper’s notions of “conjecture and refutation” with his own terminology “schema and correction” or “making and matching” (Richmond 29). Advancement in any given subject is a result of criticism and reflection. Both the artist and the scientist are considered to be testing the visual and material worlds in which they find themselves, and the artist’s methods should be recognized as no less demanding or rigorous than the scientist’s. Since UBD is not a school of art and design, the recognition of artistic research by the URC and the UBD administrations is of great importance to new art faculty at UBD.
A Rubric for Collaborative
Community Art
Contemporary teaching artists know the importance of maintaining a positive attitude toward their working environment within a university setting. However, it is understandable that without proper funds and facilities, it is very difficult to conduct any high-quality artistic research or art teaching. A solution to this problem is to conduct artistic research in collaborative community art project. By setting oneself as an example for one’s students, a creative solution to engage students in learning and teaching can be reached. The earnestness that the teaching artist has toward his or her art can become instilled in his or her
This artistic research that
culminated in the digital hybrid
mural revealed that if there were
more opportunities for the general
public to participate in community
art projects or to appreciate the
art displayed in public spaces, then
more people would have a better
understanding of art and culture.
students over time. Moreover, the teaching artist should act as a pioneer explorer toward new project grants, technologies, concepts, and techniques in addition to mastering of traditional methods and skills. Students require guidance and challenging stimulation in their studies. Instead of emphasis on competitiveness and individualism among students, the twenty-first-century art education should emphasize collaborative learning (Barkley, Cross, and
Major xi) and allow students to generate knowledge and meaning through their hands-on experience.
Collaborative learning is based on the epistemological assumption of social
constructivism. R. S. Matthews captured the essence of collaborative learning: “Collaborative learning occurs when students and faculty work together to create knowledge. … It is a pedagogy that has at its center the assumption that people make meaning together and that the process enriches and enlarges them” (101). According to Ho, “The inherent features of
collaborative learning include instructional pedagogy, co-laboring, and generation of knowledge and meaning. Within the process of community mural painting, learners or participants work in groups to achieve shared learning goals” (69). When community murals are produced with an emphasis on idea development, collaborative execution, and constructivist learning, and augmented with the help of twenty-first-century digital technology, a very collaborative art learning atmosphere results.
Case Study 1:
The Pilot Community
Mural Painting in
Brunei Darussalam
To overcome the lack of financial support available from UBD, the first community mural painting research sought sponsorship from the U.S. Embassy in Brunei Darussalam
Image 1: Poster of Transcending Culture and Space: A Community Art Project, sponsored by the U.S. Embassy Brunei Darussalam and designed by the author, showing the dates and places of community mural painting workshops and two-part traveling multimedia art installation.
Kong Ho
in early 2012. After three months, the proposal for “Transcending Culture and Space: A Community Art Project” was granted by the U.S. Embassy Brunei Darussalam through the Overseas Federal Assistance Award and was co-sponsored by means of support for workshop venues but not funding by UBD, Pusat Belia Bandar Seri Begawan (Youth Centre), and Jerudong International School (JIS). The poster of this community art project, shown in Image 1, reveals the use of butterfly motifs and their relevant meaning to diversity and inclusion as a symbol for this community art project.
This community art project’s overall design showcased the diverse and inclusive universal symbolism that is shared between the cultures of the United States and Brunei Darussalam. Based on a shared outlook of the mural’s diplomatic purpose of bringing greater cultural understanding and exchange between the United States and Brunei, as leading teaching artist in this project I designed the mural layout for this pilot community mural in Brunei and worked with Dr. Martie Geiger-Ho in conducting the mural painting workshops and traveling art exhibition. The mural layout, showed in Image 2, reveals universal symbols such as butterflies, stars, and halftone circle patterns that are common themes in art in Brunei and the United States. These nonpolitical symbols were meant to promote the concept of collaboration, diversity, and inclusion that I believe the modern world is striving for. Also, this community mural aimed to bring artists, youths, students, volunteers, and community members with diverse backgrounds and abilities together to work
as a team. The notion of working together represented the concept of teamwork that leads everyone toward building a bright and inclusive future.
Ideally, community murals should be designed together with involved community members and led by an experienced muralist. However, it was impractical in this case to form a core group of community members for this project in advance to jointly design the mural layout because of the low recruitment of targeted community members from the local youth center. This might have been caused by several factors, including the limited time frame for promoting the community mural project, the fact that the concept of a collaborative community mural was unfamiliar to the Bruneian society, or that the staff at youth center did not get the word out. However, the design for this community mural allowed a certain flexibility for participants to add their personal expression in certain areas of the mural. The decorative spaces of the mural were left blank so that participants could add their colors and patterns in the spaces. The random colors and marks would then add to the overall excitement of the complex composition. From a technical perspective, this mural design offered some simple flat surfaces, such as the circles and stars, on which participants with less painting skills could work. Also, participants with better imaginations could feel free to add their own elements. Besides regular acrylic paints, the community mural project also provided acrylic markers and Post-it stickers for less experienced or young participants to draw with or stick onto the
Image 2: Digital mural design of Transcending Culture and Space Community Mural, designed by the author, showing the dynamic colorful composition with butterflies, stars, and halftone circle patterns.
Kong Ho
mural. Hence, the mural design and the provided materials definitely helped to build a harmonious working environment and a bridge between experienced artists and novice community members.
The whole community art project included fifteen mural painting workshops and a two-part traveling multimedia art exhibition in two different locations. The final thirty-foot long by six-thirty-foot high transportable mural showcases the community art endeavor of 238 participants, including two American teaching artists (Ho and Geiger-Ho), Bruneian youths, JIS students, UBD students, U.S. Embassy staff, and the general public in a well-visited Times Square mall in Brunei, shown in Image 3. Each time the mural was set up in a location, public workshops were given at that site to help participants learn about community mural
painting and public art. Mural participants gained valuable experience in hands-on workshops by working side by side with artists and other participants. The feeling of being included or recognized as an asset became the driving force for some community members who voluntarily engaged in several workshops that took place over several months.
Besides the community mural, a two-part traveling art exhibition by the two aforementioned American artists, the author and Geiger-Ho, showcased works created in Brunei with the intention of engaging with Bruneian visual culture. Included in the exhibition were paintings, digital art, digital photography, ceramics, sculpture, jewelry, and four installations at JIS Art Gallery in September 2012, shown in Image 4 and at the Inspiring Hall of UBD Student Centre in
Image 3: Mural painting workshop of Transcending Culture and Space Community Mural, at the Times Square Mall, Brunei Darussalam, July 6, 2012, showing volunteers and University of Brunei Darussalam (UBD) art students painting on the mural. The recognized UBD students in the picture (left to right) are Dyg Nabilah binti Haji Nasib, Awg Amirul Jazli bin Jali, Nurul Jannah Mohd Yussof, and Muhammad NurAdzim bin Othman.
Kong Ho
Image 4: Community Mural Painting & Multimedia Art Installation by Dr. Martie Geiger-Ho & Prof. Kong Ho, at the JIS Arts Centre, Jerudong International School, Brunei Darussalam, from September 10 to 21, 2012.
Image 5: Mural painting workshop of Transcending Culture and Space Community Mural, in conjunction with the traveling art exhibition at the JIS Arts Centre, Jerudong International School, Brunei Darussalam, September 14, 2012, showing JIS and University of Brunei Darussalam (UBD) students painting on the mural. The recognized UBD and JIS students in the picture (left to right) are Dyg Nur Amnani binti Hj Awg Md Taib, Dyg Nurul Jannah binti Haji Ahmad, Dyg Nurul Amal Iwanina Athirah Muntassir, Amanda Yeo, Afifah Sallehuddin, Dyce Lau Jun Yin, Tasneem Cader, and Serafina Besecker.
Kong Ho
Kong Ho
Image 6: Mural painting workshop of Transcending Culture and Space Community Mural, in conjunction with the traveling art exhibition at the Student Centre, University of Brunei Darussalam (UBD), Brunei Darussalam, October 19, 2012, showing UBD students and the teaching artist painting on the mural. The recognized UBD students and artist in the picture (right to left) are Dr. Martie Geiger-Ho, Holly Ryan, Awg Muhd Saifullah Al-Waie bin Mat Jinin, Awg Mohd Niq’Matul Ghizalif bin Md Jinin, Dyg Nurul Farain binti Ahamd Sah, Awg Muhammad Nazreen bin Hj Amin, Dyg Noor Sa’Ariyah Haziqah binti Mohd Ramli, Dyg Siti Zubaidah binti Hj Ahmadin, Dyg Nurul Amal Iwanina Athirah Muntassir, Dyg Nur Amnani binti Hj Awg Md Taib, and Awg Hj Shahrul bin Hj Serbini.
Image 7: Transcending Culture and Space Community Mural, collected by University of Brunei Darussalam and displayed at the New Library Extension Building, UBD, Brunei Darussalam, in March 2013.
It was unbelievable that some
mall visitors even offered to pay
a fee in order to participate in
free community mural painting
workshops. For some mall visitors
it may have been the first time
they’d experienced a
free-to-the-community art project or public art
education in a shopping space.
Kong Ho
Kong Ho
October 2012. More than sixty-two exhibits were displayed in this traveling art exhibition, which was well received by the communities of JIS and UBD.
The concept for this traveling art exhibition worked in tandem with the community mural workshops in order to showcase artworks that would address the exhibiting artists’ enthusiasm for experiencing the culture and terrain of Brunei. Most of the images, materials, and inspiration of the two involved American artists were drawn from their physical environments, both in Brunei and Pennsylvania, United States. These regions were explored in their respective
artworks. To enhance the inclusive concept in this traveling art exhibition, the artists displayed the ongoing community mural alongside their works. They also conducted four individual mural painting workshops for the students JIS and UBD, shown in Images 5 and 6.
The final complete mural became a permanent installation on UBD’s campus, where it is displayed at the new UBD Library Extension Building in March 2013, shown in Image 7.
Case Study 2:
The First Digital Hybrid
Mural in Brunei Darussalam
In July 2012 the 2012 Creative Industries Festivaltook place, organized by the Creative Industry Research Cluster of UBD in The Mall in Gadong, which is located in Brunei’s capital city of Bandar Seri Begawan. The pilot digital community mural appeared to great public excitement as part of this festival. Visions of Brunei Digital Hybrid Mural,shown in Image 8,
Image 8: Visions of Brunei: A Cultural Free-to-All Visual Experience of Digital Hybrid Mural, 4 meters high by 6 meters wide, displayed at the atrium of The Mall, Gadong, Brunei Darussalam, from July 11 to 14, 2012.
Kong Ho
Image 9: Visions of Brunei: A Cultural Free-to-All Visual Experience of Digital Hybrid Mural, 4 meters high by 6 meters wide, printed on PVC canvas and designed by 24 talented artists and University of Brunei Darussalam students in the spring of 2012. Individual mural module listed as the order of mural from top left to right and top row to bottom are designed by (first row) Amhra Zulfadhu Hj Md Hamdilah, Mimi Farahyahida binti Hj Omarali, Dk Nur Afiquah bte Pg Hj And Rahman, Ak Khairul Amilin bin Pg Muhamad, Suzy Edwina Haji Md Salleh, Hudan Naurah Haji Ibrahim, (second row) Dr. Debra Jean Enzenbacher, Muhd Alinormin Hj Omarali, Prof. Kong Ho, Dr. Zahari Hamidon, Dr. Martie Geiger-Ho, Annant Whalen (third row) Norhafilah binti Saradin, Jasmyne Koh Hui Zhen, Awg Rasidi bin Saidin, Afiqah Hanum binti Haji Murni, Dk Noor Affizah bet Pg Hj And Rahman, (fourth row) Dr. Jennifer Tan, Muhammad Nazreen bin Amin, Muhammad Nuriskandar bin Md Hasnan, Awg Mohamad Azmi bin Hj Abdillah, Nabilah binti Haji Nasib, and Bazilah binti Haji Asli.
Kong Ho
was the first digital hybrid community mural in Brunei. This was the culmination of artistic research—a digital hybrid mural that could be easily transported and set up in a public shopping mall for viewers to enjoy. By combining the formats of digital design, commercial billboard presentation, and community art-oriented mural production,
this new type of digital hybrid mural offered a solution to the problem of how to install a mobile mural that could be created off site in a classroom setting. Traditional painted murals require a permanent mural site to display them. Usually, the mural site becomes the mural production site and may cause temporary inconvenience to some people living and working at that particular area.
The aim of this community digital hybrid mural project was to provide a promising vehicle for introducing the artistic talents of Brunei’s visual artists and UBD art students to the Brunei community at large because it paid homage to such creative industry fields as large graphic design billboards and poster concepts along with the industrial printing production methods associated with the new digital media. This mural was produced using individual, square meter, discrete two-dimensional modules that were printed out digitally. When the twenty-four discrete modules of separate self-contained images, designed by twenty-four artists and UBD students, were brought together, shown in Image 9, they comprised a large mural measuring four meters high by six meters wide. This hybrid mural was an important step toward familiarizing the general public with the new vision, energy, and perspectives of emerging Bruneian visual artists.
This practice-based research project brought artists and UBD students together to brainstorm and learn as a group through three workshops—one for digital imaging, the second one for guided tour of existing murals in Brunei, and the last one for outdoor hands-on photography workshop. At the same time, each participating artist was still responsible for producing a discrete module (single personal digital image) that became part of the hybrid mural. All of the digital art images incorporated into the hybrid mural were works of art that had been created using computer graphic technology and digital media. These art images could be either digital photographs of Bruneian culture, people, architecture, and landscape or completely computer-generated images that had been manipulated to
achieve their final compositions, which depicted the theme of visions of Brunei.
It was projected that this community digital mural project would not only provide a showcase for potential creative talents in Brunei but also give artists and UBD students an opportunity to collaborate on a single community art project as well as to share their visions of Bruneian cultural identity. It was an important goal for the culturally diverse participants and the general public to become more engaged with, and aware of the importance of artistic expression and its own culture and natural wonders.
After it was displayed four days at The Mall in downtown and two weeks at UBD Student Centre in July 2012, the digital hybrid mural was collected by UBD and permanently displayed at the Art Gallery, right foyer of the Chancellor Hall in February 2013, shown in Image 10. This digital hybrid community mural continues to impact educational, cultural, economic, social, and geographic issues that are part of the dynamics for the development of the creative industries in Brunei.
Cultural Impact of the
First Digital Hybrid Mural
Visions of Brunei Digital Hybrid Mural was not only the first community mural in Brunei but also the outcome of a practice-based research in collaborative murals led by the author. The mural originated as individual artistic research under the Creative Industry Research Cluster of UBD. This artistic research was only partially granted by the URC through the seed grant for the Creative Industry Research Cluster in sponsoring the production cost of digital printing of this very large mural. The major reasons why it was not fully supported by the URC were that the mural project was not traditional quantitative research and the value of community art or public art was not recognized. However, this first digital hybrid mural became the center of interest of four-day 2012 Creative Industries Festival in Brunei not only on account of its large scale but also because of its unique impact on the community.
Image 10: Visions of Brunei: A Cultural Free-to-All Visual Experience of Digital Hybrid Mural, collected at the Art Gallery, right foyer of Chancellor Hall, University of Brunei Darussalam, Brunei Darussalam, in February 2013.
Kong Ho
This artistic research that culminated in the digital hybrid mural revealed that if there were more opportunities for the general public to participate in community art projects or to appreciate the art displayed in public spaces, then more people would have a better understanding of art and culture. This artistic research emphasized the importance of wide-audience-based research by displaying this portable digital hybrid mural in a well-visited mall in Brunei. Also, through the contemporary digital photography and billboard display design the audience was faced with a large field of familiar images. A sense of cultural recognition displayed on this digital hybrid mural was one of the objectives of this collaborative research. Most of the digital images on this mural, created by 24 talented artists and students in Brunei, were taken in Brunei and represented the unique quality of Bruneian local culture, people, architecture, plants, and landscapes. As the theme of this digital hybrid mural was about the visions of Brunei, so much of the audience evidenced some kind of emotional connection with the images printed on this mural.
Public Art Education in
Multicultural Societies
The impact of the first digital hybrid mural might not cause instant change in the Bruneian public art scene. However, it was definitely the first contact for the Bruneian general public with noncommercial art in a public mall, a typically consumerist environment. If art education is about partly changing the people’s perceptions, then this digital hybrid mural served its purpose in awaking the general public’s admiration of their own culture and natural heritage in the context of a well-visited public place.
The first digital hybrid mural appealed to audience sensibilities with a vivid visual experience; the first collaborative community mural painting project, Transcending Culture and Space Community Mural, offered hands-on experience to 238 participants. Moreover its visually striking display gave numerous spectators in several diverse locations, including a youth center, university studio,
embassy, hotel conference room, public mall, art gallery, and university student center a chance to enjoy the visual display taking shape. The collaborative community mural and traveling art exhibition showed how an orchestrated true collaborative community art setting could let participants with diverse backgrounds, ages, skills, abilities, and social statuses work toward a common goal of creating a colorful community mural with the theme of diversity and inclusion.
When the mural traveled to a public mall, a youth center, an international school arts center, and a university student center in Brunei Darussalam, people were excited to paint on the incomplete mural, but they were also disappointed that they could not keep working on it after the workshop time ended. It was unbelievable that some mall visitors even offered to pay a fee in order to participate in free community mural painting workshops. For some mall visitors it may have been the first time they’d experienced a free-to-the-community art project or public art education in a shopping space. Instead of doing their regular shopping in the mall, some mall visitors preferred to be volunteers for the community mural project by spending half a day painting the mural with other helpers or volunteers whom they had just met in that particular location.
Conclusion: What Is Next
After These Two Pilot
Community Murals?
Undoubtedly, the two aforementioned community murals have set the tone for more public and/or community art education
… these two artistic undertakings
in Brunei suggest that art education
should be inclusive for the general
public in our communities and
more than just regular academic
curriculum in our education system.
Community produced public murals
can bring a community together to
produce a cultural artifact that is a
source of pride for its members.
in Brunei Darussalam, which will require support through a nurturing environment. It is expected that this environment will be provided by higher art education, local government, sponsors, and community members. These two Bandar Seri Begawan community art projects aimed to encompass many aspects of community participation in the mural process rather than just presenting people with visually striking huge murals. The criteria for evaluating the success of any community art project should emphasize the impact of process on individual participants’ and viewers’ experiences.
The impact of these two community murals on the Bruneian community of Bandar Seri Begawan in terms of educational, cultural, social, economic, historical, and technological contexts was substantial. Sustainable investment and development toward public art education and cultural awareness is a promising answer for
promoting Bruneian art and culture. With the advance of twenty-first-century technology in education and a broader commitment to developing domestic creative and
cultural industries, collaborative community art projects are among the achievable solutions for offering job opportunities to artists. Public art can be a key for cultural arts and tourism. At the same time, all of these community art or public art projects benefit the general public by educating in the appreciation of their own culture while adding something new to their communities. In conclusion, these two artistic undertakings in Brunei suggest that art education should be inclusive for the general public in our communities and more than just regular academic curriculum in our education system. Community produced public murals can bring a community together to produce a cultural artifact that is a source of pride for its members.
Works Cited
• Barkley, E. F., K. P. Cross, and C. H. Major. Collaborative learning techniques (p. xi). San Francisco: Jossey-Bass, 2005. Print.
• Ho, K. “Mural Painting as Inclusive Art Learning Experience.” Teaching Artist Journal. 8.2 (2010): 67–76. Print.
• Matthew, R. S. (1996). “Collaborative Learning: Creating Knowledge With Students.” Teaching on Solid Ground: Using Scholarship to Improve Practice. Eds. R. J. Menges and M. Weimer. San Francisco: Jossey-Bass, 101–124. Print.
• Richmond, S. S. Aesthetic Criteria: Gombrich and the Philosophies of Science of Popper and Polanyi, 6. Atlanta: Editions Rodopi, 1994. Print.
• Southeast Asian Ministers of Education Organization–Regional Institute for Higher Education & Development. Brunei Darussalam Higher Education System. <http://rihed.seameo.org/mambo/ index.php?option=com_content&task=view&id=39<emid=1. Web.
Kong Ho utilizes his bicultural background as a teaching artist trained in both Chinese and Western painting to teach as associate professor of art and program leader of the art and creative arts and communication program at the University of Brunei Darussalam, fall 2011 to present. Ho received a Fulbright U.S. Scholarship and taught mural painting at the National Academy of Art in Bulgaria in 2010. His art has been exhibited in more than ninety international and national exhibitions.
