What I Did.

During my second year in the Diploma in Arts Business Management, I had the opportunity to serve as the Logistics In-Charge (IC) for Prelude: Revivify, a featured programme under the Verve Arts Festival 2023. The theme for the festival, “You’re Only Young Once!”, sought to celebrate youth, creativity, and storytelling. This platform allowed me to apply my learning from various modules—ranging from Financial Management and Partnership Engagement to Festival & Event Management, Visual Communication, Education-Outreach & Community Art, and Economics. It was a rare chance to integrate theoretical knowledge with practical experience in a meaningful way. I stepped into a leadership position that required both logistical precision and creative flexibility, balancing the demands of real-world execution with the collaborative energy of a festival environment.

In my role, I oversaw all logistical planning and implementation for the programme, which involved coordinating resources, managing schedules, liaising with artists, and leading an internal team of fellow student volunteers. I chaired weekly meetings to set goals, track progress, and realign responsibilities where needed. A key highlight of the programme was a series of participatory workshops that invited members of the public to reimagine their life stories through storytelling and paper puppet-making. These sessions were delivered in collaboration with Genevieve Tan and Ramzie Tahar, students of renowned theatre practitioner Bright Ong from LaSalle College of the Arts. The workshops provided a unique and interactive space for self-expression and reflection. Many participants created deeply personal puppets and were visibly moved by the process, proudly taking their creations home. This reaffirmed to me how powerful the arts can be in building emotional connection and community engagement.

What I Learned.

This experience became one of the most formative parts of my education thus far. As Logistics IC, I developed a strong foundation in programme planning, resource coordination, and project execution under pressure. I refined my ability to prioritise and delegate tasks, manage timelines, and ensure effective communication between internal and external stakeholders. These processes were reinforced by the habits I built—sending weekly updates, initiating check-ins, and documenting workflows for clarity and accountability. Through this, I gained an understanding of how structure and adaptability must coexist in successful arts programming. The experience also sharpened my eye for anticipating problems before they arose and taught me how to quickly troubleshoot while maintaining professionalism and team morale.

Working alongside artists and community stakeholders required me to embrace flexibility and empathy. One challenge we encountered was coordinating schedules with multiple artists while trying to reach and recruit a diverse pool of participants. To address this, I proposed adding interactive, artist-led teaser sessions prior to the full programme rollout. This approach helped generate interest and gave the public a preview of what they could expect. We then launched a multi-platform promotional campaign using the festival’s website, radio, and social media channels such as Instagram and TikTok. This significantly increased visibility and participant turnout. Through it all, I also became more attuned to the emotional needs of our participants. Many came from different walks of life, and I realised the importance of creating a welcoming and inclusive environment. I listened to their stories, observed their reactions, and adapted my approach to support them better—an experience that deepened my respect for the role of the arts in personal and social transformation.

Goals for Continued Learning.

Looking ahead, I am eager to expand my capabilities in the areas of logistics, facilitation, and audience engagement by participating in more community-focused arts initiatives. I hope to explore projects that demand both logistical expertise and creative problem-solving—especially those that challenge me to think differently about how programmes can be designed to be more accessible, relevant, and inclusive. I’m also interested in learning how arts initiatives can be scaled while retaining their authenticity and community roots. In future projects, I plan to be more intentional in mapping out user experience pathways, from initial outreach to post-programme reflection, in order to deepen engagement and improve long-term impact.

In addition, I aspire to take on more leadership roles that allow me to mentor and support younger team members, just as I was supported by peers and mentors during this project. I believe that strong team dynamics are the foundation of successful arts programmes, and I want to play an active role in shaping those dynamics through clear communication, mutual respect, and a culture of learning. Ultimately, I see myself continuing to create and support programmes that centre around inclusivity, empathy, and social relevance. I am committed to using the arts not just as a form of expression, but as a powerful vehicle for connection and change. This experience has clarified my path and reaffirmed my purpose—to serve communities through creativity and collaboration.