Chiang Mai: Thailand’s modern-day Left Bank by Denis D. Gray, 16/04/2017, Nikkei Asian Review
Evolution of Thai northern city into creative hub fuels hopes of gaining UNESCO status.
The millions of tourists who flock to the ancient, mountain-ringed city of Chiang Mai in northern Thailand might not immediately notice, but the alleys, riversides and Bohemian cafes here are percolating with striking imagery, innovative design and digital wizardry. It is a heady brew that has prompted some to predict a real explosion — a creative one, that is.
The city is already home to more than 40 art galleries and a world-class contemporary arts museum, with others planned. It hosts design and arts festivals and was listed on a widely consulted digital nomad website as No. 1 of 991 places in the world for roving techies to plug in their computers. A creative resource guide to the city runs to 199 pages, focusing on venues ranging from the Wandering Moon Theater to Chiang Mai University’s College of Arts, Media and Technology.
Among a growing base of arts enthusiasts, Chiang Mai has become Thailand’s Left Bank, a part of Paris long known for its artistic and intellectual community.
Iswadi Pratama, an auteur of Indonesian theatre by Caranissa Djatmiko, 12/04/2017, Inside Indonesia
Indonesia’s foremost theatre director, the internationally acclaimed Iswadi Pratama, staged an extraordinary eight productions in 2016.
There is no simple way of describing Iswadi Pratama. He claims to be a self-taught artist, yet his exceptional talents seem to suggest otherwise. Having spent most of his life bringing realities to the stage he insists that he only has the books he reads (stacked quite untidily at his private library) and the mentors who have guided him in the past to thank. Yet, after staging eight ambitious productions in 2016, it would be hard to dispute the fact that he has revolutionised Indonesian theatre.
The 45-year old poet and theatre director always knew that art was his true calling. He considers it to be the only space where he can express himself unapologetically, while also being a vehicle for helping others. ‘Everything that I do is motivated by an awareness that art must make people find their turning points in life,’ he says. ‘So I always choose projects based on [various] priorities: to what extent do the people involved in a certain program require my ability and capacity, and the relevance of it to my creative work and my vision regarding social transformation.’
Pratama’s plays have been showcased around the globe. His play Nostalgia di Sebuah Kota (Nostalgia in a City) was translated and performed in Germany in 2010. He has worked with some of the best artists in the world including American director Julie Taymor (Frida, The Lion King stage musical) who mentored Pratama when he became the first Indonesian to be a part of the Rolex Mentor and Protégé Arts Initiative.
A freelance lensman of The New York Times won a Pulitzer Prize in the breaking news photography category for a picture published with the a story on the war on drugs in the Philippines, 11/04/2017, GMA News Online
The announcement, which was posted on the official Pulitzer Prize Twitter account, declared freelance photographer of The New York Times Daniel Berehulak as winner of the prestigious award.
The article in the New York Times published on the 7th of December 2016 was titled « They are Slaughtering Us Like Animals. » Inside President Rodrigo Duterte’s brutal anti-drug campaign in the Philippines our photojournalist documented 57 homicide victims over 35 days.
I have worked in 60 countries, covered wars in Iraq and Afghanistan, and spent much of 2014 living inside West Africa’s Ebola zone, a place gripped by fear and death. What I experienced in the Philippines felt like a new level of ruthlessness: police officers’ summarily shooting anyone suspected of dealing or even using drugs, vigilantes’ taking seriously Mr. Duterte’s call to “slaughter them all.”
Payut Ngaokrachang: cartoons for USIS, Part 1, 24/01/2017, propagandainsoutheastasia
Payut Ngaokrachang was a Thai cartoonist who worked for most of his career with the United States Information Service (USIS). He was originally from a rural background, born in Wako, in the province of Prachuap Khiri Khan. In 1955 Payut created his first animated short film, Haed Mahasajan [The Miracle Incident] in which a traffic policeman causes a pile up due to some questionable dancing on the job. According to Jonathan Clements, Payut was subsequently spotted by USIS who awarded him roughly $400 and the opportunity to spend 6 months either at the Walt Disney Studios in California or Toei in Japan. He chose the later, meaning he was in many ways there at the very start of the Japanese anime industry. His time there resulted in his first (and as it happens last) propaganda film, completed in 1957.
Hanuman in Danger
Hanuman Phachoen Phai [Hanuman in danger], takes its principal character from the Ramayana, a classic Hindu epic that is also the basis for the classic Thai text the Ramakien. Hanuman, who is the God-King of the apes, was one of major characters who fought with Rama [Phra Ram] against the Devil King Ravana [Totsapak], and is therefore highly revered. In the propaganda film, Hanuman is depicted with a white face, and is based in the countryside. The film starts with him at home as his sons watch the television. They are watching a dancing competition, commenting on the prettiness of female dancer, when her partner the screen morphs from a handsome young man into a brutal looking dictator, who begins to spout what is supposed to be Communist ideology. He instructs the audience that they no longer need to respect their mothers, fathers, religion or King Rama [Phra Ram].
Lecture : Confidences de Pariyem de Linus Suryadi A. G., vendredi 28 avril 2017 à 13h, Salon Peillot, Musée Guimet
Au programme, un long poème narratif en prose : « Confidences de Pariyem. L’univers d’une femme de Java » de l’indonésien Linus Suryadi AG (1951-1999).
« Confidences de Pariyem » a paru en 1981 à Jakarta. A travers les confidences de l’héroïne au jeune Païman, c’est une description rare et puissante de la vie quotidienne et des états d’âme d’une jeune fille de la fin des années 60 qui transparaît.
Embauchée dans une vieille famille noble de Yogyakarta, dernier bastion de l’héritage culturel des cours javanaises, Pariyem nous offre avec candeur, fierté et humour un saisissant voyage.
La lecture sera ensuite prolongée par une rencontre littéraire animée par Etienne Naveau, qui donnera quelques clefs sur Java, les femmes, l’Islam et la place proéminente des écrivaines sur la scène littéraire de l’archipel.
Etienne Naveau est professeur de langue et de littérature indonésienne à l’INALCO.
Framing Asia is a monthly film screening and discussion on Asia during the Leiden Asia Year.
Framing Asia is organised by by the KITLV (Royal Netherlands Institute of Southeast Asian and Caribbean), the IIAS (International Institute for Asian Studies), the department CA-DS (Cultural Anthropology and Development Sociology) and Studium Generale of University Leiden.
You are welcome to join us on Tuesday 11 April at 19.30 h at Lipsius 028. This edition will screen two films on Popcultures and subcultures.
The first film is titled That’s Wicked (11 min) and directed by Joycelyn Lee. It follows the 15 year old Martin who introduces us to the world of beatboxing in Singapore.
The second film, The Silk Road of Pop (53 min), produced by Sameer Farooq, Ursula Engel and Stijn Deklerck shows us the vibrant music scene of the Uyghur youth in Xinjiang, China.
Afterwards, Ursula Engel (co-director of The Silk Road of Pop) will join our discussion with Bart Barendregt. Bart Barendregt is an associate professor at the Leiden Institute of Cultural Anthropology and Development Sociology. He has an interest in popular and digital culture, and has published on Southeast Asian performance, new and mobile media, and (Islamic) pop music.
Brutalism and Traditional Khmer Design Come Together in Phnom Penh’s Hiroshima House by Ben Valentine, 17/03/2017, Hyperallergic
Osamu Ishiyama’s structure exemplifies the surprising adaptability of humans in the face of dehumanizing events.
PHNOM PENH, Cambodia — During the 1994 Asian Games in Hiroshima, atomic bomb survivor Keiko Kunichika was inspired by a Cambodian athlete’s desire for his country to grow as Hiroshima had after the devastation of war. The Association for the Exchange Between Hiroshima Citizens and Cambodians was founded, and volunteers from Japan began building the Hiroshima House in Phnom Penh, brick by brick, from 1995 until its opening in 2007.
As a monument for peace, a site for children, and a building within one of Phnom Penh’s oldest and most important temple complexes, Wat Ounalom, the building itself is somewhat bizarre. From the outside, it’s an awkward, nearly cube-shaped five-story structure of progressively smaller cement and brick horizontal stripes. The weirdness culminates in a traditional Khmer roof plopped on top of the modern building. Surrounded by traditional Buddhist temple buildings, which are heavily ornate with highly circumscribed meanings, the Hiroshima House sticks out like a sore thumb.
Khmer Battleground by Aizzat Nordin, 17/01/2017, Invisible Photographer Asia
Aizzat Nordin was a Malaysian recipient of the Angkor Photo Travel Grants. Khmer Battleground was made during the 2016 Angkor Photo Workshop in Siem Reap, Cambodia.
Pradal Serey or Kun Khmer is a form of ancient martial arts practiced by the Kingdom of Angkor army since the 9th century to wage war against their main enemy, the Vietnam-based kingdom of Champa, and later Siam, resulting in the domination of what is now known as Cambodia, Thailand, Vietnam, and Laos. In an effort to erase this art, many Kun Khmer lok kru (Masters) were targeted by the vicious Khmer Rouge Regime and executed in the 70’s, leaving Cambodian struggling with poverty and socioeconomic growth after the regime era. Today, Kun Khmer fighters fight hard with pride and dignity in the arena or at the pagoda in the rural areas for extra money, hoping that it’s enough to feed their loved ones.
In 1994, I received a grant from the Philippine Center for Investigative Journalism (PCIJ) to shoot a documentary on the Manila Police. I focused on the Western Police District Headquarters (WPD) as it is the premier police station located in the tourist district in a sprawling metropolis with millions of inhabitants.
The resulting photo book, titled Brotherhood, ultimately garnered me a second national book award along with Gemma Luz Corotan who wrote the text.
I Want To Live – The Rohingyas, by Suthep Kritsanavarin, 13/11/2016, Invisible Photographer Asia
Thai Photojournalist Suthep Kritsanavarin has worked on an investigative report on the Rohingyas since 2008, chronicling their horrifying journeys from Burma and Bangladesh to Thailand, Malaysia, Indonesia and even to Australia.
Rohingyas are Burmese Muslims who are labeled as aliens by their own government and marginalized and persecuted in Myanmar and other South and Southeast Asian countries where they take refuge. Their predicament is exacerbated by their statelessness and the lack of concerted efforts by regional governments, political bodies, and international NGOs.
Appel à contributions : Symposium : Intersections of the literary & artistic worlds in Myanmar & the region in the 20th century, 17/11/2017, Singapore
This proposed one-day symposium corresponds to the last leg of the NTU-funded project on AungSoeillustrations.org, a database of illustrations by Myanmar’s trailblazer of modern art, Bagyi Aung Soe (1923–1990).
This symposium seeks to:
investigate the hitherto overlooked medium and agency of illustration in the articulation of “art” in Myanmar and the region;
discern geneses of “art” in Myanmar and the region from the perspective of the literary world;
explore ways of thinking and writing about “art” beyond that yoked to the Euramerican experience and agenda;
reflect on common threads and divergences in the way(s) in which modern art emerged in tandem with developments in the literary world in Myanmar and the region.
All abstracts must however be submitted in English. Prospective participants who wish to present a paper in absentia or/and remain anonymous are welcomed. Kindly submit your proposals in Word document (.doc or .docx) by 31 July 2017 to iLAW2017@gmail.com:
title of paper
presenter’s name, affiliation and contact information
Accepted participants will be notified before 31 August 2017. The selection of papers will take into consideration how the contributions might stimulate conversations and debates, and expand perspectives on the topic.
This is a story of Kachin Land in Myanmar, which is on the verge of being entirely obliterated by opium.
Poor communities in Myanmar are immensely affected by drug abuse. Opium and its derivative, heroin, are the terror above it all because Kachin Land is one of the main regions for poppy farms in Myanmar. But for the poppy farmers, it is a way to make a living.
Dans le cadre du Séminaire de l’IrAsia (Institut de recherches asiatiques),deux films (30’) consacrés à deux grands chercheurs en Sciences Humaines en Asie du Sud-Est, Denise Bernot (linguiste) et Georges Condominas (ethnologue) seront présentés
le vendredi 2 décembre de 14h à 17h (Amphithéâtre Charve – Campus Saint-Charles – Marseille) par Jean Baffie (IrAsia), Alice Vittrant (DDL/AMU/IrAsia) et Alexandra de Mersan (CASE/Inalco)
Matca, whose name means fisheye in Vietnamese, is born solely out of our passion for and beliefs in photography as a form of narration and visual arts. We intend for Matca to be a collective, an alternative gathering space for the Vietnamese photographic community to seek inspiration and bounce ideas off one another. At Matca we acknowledge and feature local photographers as well as visual artists out there whose compelling works are often overlooked in today’s society’s context.
For any enquiries, feedback, love, etc, please contact us at: email@example.com