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Igniting a Weekend of Dangerous Ideas the Cooler Lumpur Festival: DANGEROUS IDEAS from 12Th – 14Th June 2015 at Publika, Solaris Dutamas
FOR IMMEDIATE RELEASE Igniting a Weekend of Dangerous Ideas The Cooler Lumpur Festival: DANGEROUS IDEAS from 12th – 14th June 2015 at Publika, Solaris Dutamas. KUALA LUMPUR, 14th June 2015 – The Cooler Lumpur Festival, Southeast Asia’s first and only festival of ideas, came to a close on Sunday after bringing together over 80 intellectual minds from around the world. The three-day festival, themed Dangerous Ideas, was held from June 12th to 14th 2015, across various venues in Publika, Solaris Dutamas. A collaboration between creative media shop PopDigital, BMW Malaysia, and British Council Malaysia, the festival aimed at harnessing the contagious power of great ideas and its potential to inspire transformation. Umapagan Ampikaipakan, programme director of the festival explained that the idea behind this year’s theme came about from reading the news on a daily basis and in discussions with Hardesh Singh, the executive director of the festival, the word Dangerous Ideas kept popping up. “Every issue that Malaysia is going through seems to be driven by a lack of solutions. And the only way to come up with solutions is to come up with ideas and sometimes, they are dangerous ideas,” he said. The Cooler Lumpur Festival: DANGEROUS IDEAS focused on responsibly unearthing ideas and exploring how these ideas shape our behaviour, environment, and society. The carefully curated selection of lectures and panel discussions challenged urbanites to engage in debate, grapple with, and celebrate ideas as powerful agents of change and creation. Tun Dr. Mahathir bin Mohamad who was featured prominently at the festival, spoke to a full house at MAP@Publika, on his “Most Dangerous Idea”. -
Popular Music in Southeast Asia & Schulte Nordholt Popular Music in Southeast Asia
& Schulte Nordholt Barendregt, Keppy Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Popular Music in Southeast Asia Peter Keppy, and Henk Schulte Nordholt Popular Music in Southeast Asia Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Peter Keppy, and Henk Schulte Nordholt AUP Cover image: Indonesian magazine Selecta, 31 March 1969 KITLV collection. By courtesy of Enteng Tanamal Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 403 5 e-isbn 978 90 4853 455 5 (pdf) doi 10.5117/9789462984035 nur 660 Creative Commons License CC BY NC ND (http://creativecommons.org/ licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Introduction 9 Muted sounds, obscured histories 10 Living the modern life 11 Four eras 13 Research project Articulating Modernity 15 1 Oriental Foxtrots and Phonographic Noise, 1910s-1940s 17 New markets 18 The rise of female stars and fandom 24 Jazz, race, and nationalism 28 Box 1.1 Phonographic noise 34 Box 1.2 Dance halls 34 Box 1.3 The modern woman 36 2 Jeans, Rock, and Electric Guitars, -
Are You Game, Sau(Dara)? a Double-Bill of New Works Inspired by Leow Puay Tin’S Three Children
Centre 42 (SG) and Five Arts Centre (KL) present Are You Game, Sau(dara)? A double-bill of new works inspired by Leow Puay Tin’s Three Children Riding into the jungle! 8 - 10 March 2019 Ride, ride, Ride ... Centre 42 Black Box Sau(dara) By Bhumi Collective Are You Game? By Fasyali Fadzly About Three Children Sau(dara) Three Children — written by Malaysian playwright Leow Puay Tin — is about BY BHUMI COLLECTIVE three grown-up siblings who return to their childhood home on Kappan Road, Melaka, to confront their past. Eschewing a linear narrative, the three characters, as well as a narrator, race through a series of children’s songs, games and sketches. In 1988, Three Children was staged in Singapore in a directorial collaboration between Theatreworks’ artistic director Ong Keng Sen and Five Arts Centre’s founder Krishen Jit. After three months of training and devising, Three Children opened Actors Lok Meng Chue, Claire Wong and Loong Seng Oon in the 1992 on 11 November 1988 production of Three Children. (Image: Five Arts Centre.) at the Drama Centre on Fort Canning Hill. Critics lauded the groundbreaking production, calling it “inspired” and “a dramatic masterpiece”. Three Children returned as a touring production in 1992, travelling to Singapore, Malaysia and Japan. Head to centre42.sg/about-three-children to learn more. Four women discover that even in their twenties, growing up female and Malay in Singapore means that you’ll never truly be grown up. To navigate the winds of change, they replay games they used to play and songs they used to sing. -
Popular Music in Southeast Asia & Schulte Nordholt Popular Music in Southeast Asia
& Schulte Nordholt Barendregt, Keppy Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Popular Music in Southeast Asia Peter Keppy, and Henk Schulte Nordholt Popular Music in Southeast Asia Popular Music in Southeast Asia Banal Beats, Muted Histories Bart Barendregt, Peter Keppy, and Henk Schulte Nordholt AUP Cover image: Indonesian magazine Selecta, 31 March 1969 KITLV collection. By courtesy of Enteng Tanamal Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 403 5 e-isbn 978 90 4853 455 5 (pdf) doi 10.5117/9789462984035 nur 660 Creative Commons License CC BY NC ND (http://creativecommons.org/ licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2017 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Table of Contents Introduction 9 Muted sounds, obscured histories 10 Living the modern life 11 Four eras 13 Research project Articulating Modernity 15 1 Oriental Foxtrots and Phonographic Noise, 1910s-1940s 17 New markets 18 The rise of female stars and fandom 24 Jazz, race, and nationalism 28 Box 1.1 Phonographic noise 34 Box 1.2 Dance halls 34 Box 1.3 The modern woman 36 2 Jeans, Rock, and Electric Guitars, -
MAPPING CREATIVE HUBS in MALAYSIA Table of Contents Mapping Creative Hubs in Malaysia
APRIL 2017 WWW.BRITISHCOUNCIL.MY MAPPING CREATIVE HUBS IN MALAYSIA Table Of Contents Mapping Creative Hubs in Malaysia INTRODUCTION CHALLENGES 4 • Defining Creative Hubs 33 • Money 7 • Adapting Research Terms 34 • Management 9 • Creative Hubs In Malaysia 37 • Mindsets 11 • Mapping Spaces In Malaysia 38 • Sustainability CREATIVE HUB OVERVIEWS SUPPORT 12 • Lostgens 40 • Funding 13 • Zhongshan Building 40 • Training 14 • George Town Festival 41 • Connecting & Networking 15 • Malaysian Writers Society 41 • Making Space 16 • Projek Rabak 17 • Rimbun Dahan 42 • CONCLUSION 18 • The Actors Studio Seni Teater Rakyat 19 • Art For Grabs 44 • INDEX 20 • Kilang Bateri AUTHOR IMPACT LING LOW 21 • Growing Roots RESEARCHERS 23 • Building A Culture LING LOW • JASON GANESAN • 25 • Public Engagement SYARIFAH SYAZANA • LILLIAN WEE 27 • Collaboration LAYOUT BY 30 • Catalysing Cities SKUNKWORKS COMMUNICATIONS PHOTOS COURTESY OF THE ACTORS STUDIO SENI TEATER RAKYAT, ART FOR GRABS, GEORGE TOWN FESTIVAL, KILANG BATERI, MALAYSIAN WRITERS SOCIETY, RIMBUN DAHAN Defining Creative Hubs Based on the themes outlined above, we Cyberjaya, a local “Silicon Valley” was purpose- decided that we would focus on surveying built as a technology city and, as of 2014, has and interviewing creative hubs which received RM17 billion worth of investments.3 firstly, show “collaboration and exchange”; In the national budget for 2017, RM80 million and secondly, demonstrate an impact was set aside for reinvigorating the arts, less on and from the “local context” through than half the amount – RM200 million – to be being embedded in their communities. invested in technology startups, while RM400 INTRODUCTION million was set aside for the tourism industry.4 Thirdly, we decided to define creative hubs as those aligned with the arts, either as a producer As the old saying goes, “Necessity is the mother or support system for literature, performance, of invention”. -
Download Any Additional Presets That Are Just a Few Clicks Away
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Why Music and Shamanism for Orangutans are Similar Permalink https://escholarship.org/uc/item/3gc6x5qk Author Park, Hong-June Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Why Music and Shamanism for Orangutans are Similar by Hong-June Park A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Co-Chair Professor Terrence Deacon, Co-Chair Professor Jocelyne Guilbault Professor Daniel Fisher Summer 2020 Why Music and Shamanism for Orangutans are Similar Copyright 2020 by Hong-June Park Abstract Why Music and Shamanism for Orangutans are Similar by Hong-June Park Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Co-Chair Professor Terrence Deacon, Co-Chair How do you get people to empathize with a species when you have no ability to get inside their heads? Today, orangutan conservation has become something that Indonesians do out in the forests. In service of these efforts, musicians and shamans have joined Sound For Orangutan, an annual music event held in Jakarta since 2012 with additional festivals in other locations in subsequent years. Within this frame of reference, I will argue that both music and shamanism exceed semantics that merely describes differences in things. On stage: musicians incorporate different primate “calls” in a single song that points to a location in which the orangutan and non-orangutan coinhabit. -
Hbfdouse Tract to Tee U.S
PAGE SIXTEEN - MANCHESTER EVENING HERALD. Manchester, Ctonn., Tues., April 1,1975 % OBITUARIES Tax Relief Leads (Continued from Page One) Dunlap Dies; That’s why I appeared as a character Once Served a productive year and that it already has witness for him and that’s how I’ve proved capable of representing the com answered every letter I received in City, State munity’s interests in Hartford and criticism.” Washington. Cotter said he can’t and won’t support Manchester—A City of Village Charm PRICE: FIFTEEN CENTS ROCKVILLE-Willi am J. “We are ready to he your voice in further hikes in prices of home heati^ oil THIRTY-TWO PAGES - TWO SECTIONS Dunlap, 80, of 13 Webster St. legisiative m atters and to perform ser and residual oil and would support a tax in MANCHESTER, CONN., WEDNESDAY, APRIL 2,1975 - VOL. XCIV, No. 155 died Monday night at Rockville vices as needed,” he said. centive that would encourage conversion General Hospital. He was the William H. Hale, in his first official task to coal. He stressed the importance of cut husband of Mrs. Marion as chairman of the Chamber’s board of ting down on oil imports ^ s a i d he’d sup Kington Dunlap. directors (he succeeded Burl Lyons in the port relaxation of enviro'nmmtal stan Before the Rockville-Vernon post as of today), brought a laugh when he dards — as a compromise with the needs consolidation, Mr: Dunlap said, “The fact it’s April Fools’ Day will of the economy. served in the State Senate as a He said he’s still opposed to a gasoline Saigon Seething in Crisis not effect my office in any way.” representative from Rockville, Said Hale, “Hardly a legislative day tax but would vote for one — if the only and as a selectman and alternative is an increase in home heating goes by in Washington and Hartford that SAIGON (UPI) — Heavy fighting broke fantrymen were battling at Xuan Loc to people in an emotional address not to give about 200 MPs were manning tee blockade superintendent of streets for oil. -
Why Music and Shamanism for Orangutans Are Similar by Hong
Why Music and Shamanism for Orangutans are Similar by Hong-June Park A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Co-Chair Professor Terrence Deacon, Co-Chair Professor Jocelyne Guilbault Professor Daniel Fisher Summer 2020 Why Music and Shamanism for Orangutans are Similar Copyright 2020 by Hong-June Park Abstract Why Music and Shamanism for Orangutans are Similar by Hong-June Park Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Co-Chair Professor Terrence Deacon, Co-Chair How do you get people to empathize with a species when you have no ability to get inside their heads? Today, orangutan conservation has become something that Indonesians do out in the forests. In service of these efforts, musicians and shamans have joined Sound For Orangutan, an annual music event held in Jakarta since 2012 with additional festivals in other locations in subsequent years. Within this frame of reference, I will argue that both music and shamanism exceed semantics that merely describes differences in things. On stage: musicians incorporate different primate “calls” in a single song that points to a location in which the orangutan and non-orangutan coinhabit. Through different styles (e.g., children’s song, rock, noise), they show a common interest in experiencing nonhuman emotions by singing like the primates. Backstage: shamans convince deities to prevent the rain from falling on the occasion. Through different religious orientations (e.g., Islam, Buddhism, Kejawèn), they conduct a similar set of rituals in which they produce smoke that looks like cloud movements. -
Dangerous Ideas
FOR IMMEDIATE RELEASE Dangerous Ideas PopDigital, British Council Malaysia, Embassy of the United States and BMW Malaysia reveal programme of the third instalment of The Cooler Lumpur Festival. KUALA LUMPUR, 22 May 2015 – This 12th to 14th June, Southeast Asia’s first and only festival of ideas returns to Publika, Solaris Dutamas for the third time. Themed DANGEROUS IDEAS, the collaborative effort between creative media shop PopDigital, BMW Malaysia and British Council Malaysia is set to challenge urbanites to engage in debate, grapple and celebrate ideas as powerful agents of change and creation. “DANGEROUS IDEAS is focused on responsibly unearthing ideas and exploring how these ideas shape our behaviour, environment and societies. In this age of instant information, ideas spread like wild fire. We’d like to harness the contagious power of a great idea and the potential it holds to inspire transformation,” added Hardesh Singh, Executive Director of the festival. Gavin Anderson, director of British Council Malaysia said today, “As the founding partner and official literary partner of The Cooler Lumpur Festival, we are proud to be forging ahead into our third year of this partnership with PopDigital. Our work in English language, education, society and the arts – what we call cultural relations – is all about themes of global and responsible citizenship, creativity and innovative expression. By presenting the best of UK and regional talent in Kuala Lumpur, we are building trust between the UK and Malaysia. We’re also using our network of offices across East Asia to bring the regional literature sector together.” Programme Director, Umapagan Ampikaipakan shares: “The drive of 2015’s DANGEROUS IDEAS is to create a platform for the safe exchange of these ideas, across demographics and schools of thought.