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Gentarasa 2016 Showcases the Significance of Malay Culture Through Traditional Performances and Poetry in Celebration of Hari Raya Aidilfitri
PEOPLE’S ASSOCIATION 9, King George’s Avenue Singapore 208581 Tel: (65) 6340 5430/5454/432/231 Fax: (65) 6348 5977 Website: www.pa.gov.sg 27 July 2016 GENTARASA 2016 SHOWCASES THE SIGNIFICANCE OF MALAY CULTURE THROUGH TRADITIONAL PERFORMANCES AND POETRY IN CELEBRATION OF HARI RAYA AIDILFITRI 18 Gentarasa performers who have excelled in both academic and cultural pursuits to receive Gentarasa Study Grant 2016 at Gala Show In conjunction with Hari Raya celebrations, Gentarasa 2016 will showcase the Malay community’s heritage, culture and customs through this cultural performance which will feature performers from all walks of life. The cast, comprising 85% local talents from the Community Centres/Clubs (CCs), includes a total of 150 artistes, both Malay and non-Malay performers coming together to promote understanding and appreciation of the Malay culture. This is one of the biggest cast participation in Gentarasa since 2002. William See is one of the 5 non-Malay performers who is very excited in performing dance on stage and will continue to support such programmes in the future. The youngest cast, Md Hasif Afiq Bin Md Ridwan, aged 6, will be involved in the martial arts performance. Md Hasif Afiq is from the Bukit Batok East CC Silat Interest Group and is his first Gentarasa performance. 2 The 100-minute flagship cultural concert by People’s Association (PA) Malay Activity Executive Committees Council (MESRA), entitled “Genggaman Jati, Menyulam Masa – Weaving Self through Time” – will perform to an anticipated 2,500 audience at the Kallang Theatre on Saturday, 30 July 2016 at 2.00pm (Matinee) and at 8.00pm (Gala Show). -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Malay Gamelan: Approaches of Music Learning Through Community Music
International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Malay Gamelan: Approaches of music learning through Community Music Wong Huey Yi @ Colleen Wong Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. Christine Augustine Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. DOI: 10.6007/IJARBSS/v7-i11/3562 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3562 Abstract This paper looked into the role of Rhythm in Bronze (RiB), a local music group in Malaysia, in community music work practices that uses Malay gamelan as the medium. The research delved into the different aspects of the approaches used to enhance music learning through community music; particularly the activities used and how they relate to Vygotsky’s theory of socialization in learning. Community music gathers people from different backgrounds. Experiences and knowledge shared helps the community through the development in terms of personal growth, self- esteem and self-confidence. These terms are just some of the aspects that community music promotes, apart from music making. Along the process of community music, creativity and expression are important in music making, as this will further develop creative thinking skills among musicians. Qualitative approaches such as observation, interview, and group’s past work were used in this research to gather information and data on how music has been taught to children through community music. Social interaction has certainly shown a big role in developing children thinking and perceptions through the activities implemented. -
Brillante Mendoza
Didier Costet presents A film by Brillante Mendoza SYNOPSIS Today Peping will happily marry the young mother of their newborn baby. For a poor police academy student, there is no question of turning down an opportunity to make money. Already accustomed to side profits from a smalltime drug ring, Peping naively accepts a well-paid job offer from a corrupt friend. Peping soon falls into an intense voyage into darkness as he experiences the kidnapping and torture of a beautiful prostitute. Horrified and helpless during the nightmarish all-night operation directed by a psychotic killer, Peping is forced to search within if he is a killer himself... CAST and HUBAD NA PANGARAP (1988). His other noteworthy films were ALIWAN PARADISE (1982), BAYANI (1992) and SAKAY (1993). He played in two COCO MARTIN (Peping) Brillante Mendoza films: SERBIS and KINATAY. Coco Martin is often referred to as the prince of indie movies in the Philippines for his numerous roles in MARIA ISABEL LOPEZ (Madonna) critically acclaimed independent films. KINATAY is Martin's fifth film with Brillante Mendoza after SERBIS Maria Isabel Lopez is a Fine Arts graduate from the (2008), TIRADOR/SLINGSHOT (2007), KALELDO/SUMMER University of the Philippines. She started her career as HEAT (2006) and MASAHISTA/ THE MASSEUR (2005). a fashion model. In 1982, she was crowned Binibining Martin's other film credits include Raya Martin's NEXT Pilipinas-Universe and she represented the Philippines ATTRACTION, Francis Xavier Pasion's JAY and Adolfo in the Miss Universe pageant in Lima, Peru. After her Alix Jr.'s DAYBREAK and TAMBOLISTA. -
Term-List-For-Ch4-Asian-Theatre-2
Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers -
Intangible Cultural Heritage in Singapore
Intangible Cultural Heritage in Singapore Living Heritage in a Multicultural Urban Environment Intangible Cultural Heritage in Singapore Living Heritage in a Multicultural Urban COVER IMAGES COURTESY OF NATIONAL HERITAGE BOARD AND YAHOO Environment Singapore shares many similar cultural practices On 22 February 2018, with countries around the region, a result of the arrival of early migrants from countries that include Singapore ratified the China, India, Indonesia and Malaysia. In turn, these early settlers brought along their cultural practices, UNESCO 2003 Convention and adapted them across generations into the ICH practices found in Singapore today. for the Safeguarding of the Over the years, Singapore has developed into a Intangible Cultural Heritage modern and multicultural urban city that is home to over 5.7 million people of different ethnicities and religions, all living and working in close proximity to (ICH) of Humanity. In doing so, one another. This multicultural urban environment has in turn encouraged ICH practices in Singapore to Singapore commits itself to the constantly evolve, often with the influences from the safeguarding and promotion of traditions, practices, and skills of other communities. This booklet will showcase the different multicultural its ICH for future generations. elements that make up Singapore’s diverse range of ICH, along with the innovative ways that members of the community have taken to ensure that ICH in Singapore is safeguarded for future generations. A selection of BOARD common breakfast food items that UNSPLASH include toasted OF HERITAGE bread, coffee and half-boiled eggs. COURTESY NATIONAL OF IMAGE COURTESY IMAGE A re-enactment of the social practices and rituals of a Peranakan wedding. -
Asia Report, Nr. 27: Myanmar
MYANMAR: THE ROLE OF CIVIL SOCIETY 6 December 2001 Asia Report N° 27 Bangkok/Brussels TABLE OF CONTENTS EXECUTIVE SUMMARY................................................................................................................... i I. INTRODUCTION........................................................................................................................1 II. BACKGROUND OF CIVIL SOCIETY IN MYANMAR........................................................3 A. AN EMERGENT CIVIL SOCIETY: 1948-1962....................................................................................... 3 B. CIVIL SOCIETY REPRESSED UNDER MILITARY RULE .......................................................................... 4 III. REGIME CONTROL OVER CIVIL SOCIETY SINCE 1988 ...............................................6 A. LACK OF THE RULE OF LAW............................................................................................................... 6 B. HIGHLY RESTRICTED ACCESS TO COMMUNICATIONS TECHNOLOGY .................................................. 8 C. INDEPENDENT ORGANISATIONS STIFLED............................................................................................ 9 D. REGIME-SPONSORED ORGANISATIONS............................................................................................. 10 E. EDUCATIONAL AND CULTURAL LIMITATIONS .................................................................................. 11 F. SIMILAR RESTRICTIONS IN AREAS CONTROLLED BY ARMED ETHNIC NATIONALIST ORGANISATIONS ............................................................................................................................. -
978-987-722-091-9
Inequality, Democracy and DevelopmentDemocracy Developmentunder Neoliberalism and Beyond South-South Tricontinental Collaborative Programme under Neoliberalism and Beyond South-South Tricontinental Collaborative Programme Inequality, Democracy and Development under Neoliberalism and Beyond Seventh South-South Institute Bangkok, 2014 The views and opinion expressed in this book are those of the authors and do not necessarily represent the views of the Executive Secretariat of IDEAs First edition Inequality, Democracy and Development under Neoliberalism and Beyond (IDEAs, New Delhi, June 2015) ISBN: 978-987-722-091-9 International Development Economics Associates (IDEAs) Economic Research Foundation, 104 Munirka Enclave, Nelson Mandela Marg, New Delhi 110067 Tel: +91-11-26168791 / 26168793, Fax: +91-11- 26168792, www.networkideas.org Executive Secretary: Professor Jayati Ghosh Member of the Executive Committee: Professor C.P. Chandrasekhar CLACSO Consejo Latinoamericano de Ciencias Sociales - Conselho Latino-americano de Ciências Sociais (Latin American Council of Social Sciences) Estados Unidos 1168 | C1101AAX Ciudad de Buenos Aires, Argentina Tel. [54 11] 4304 9145, Fax: [54 11] 4305 0875, [email protected], www.clacso.org Deputy Executive Secretary: Pablo Gentili Academic Director: Fernanda Saforcada CODESRIA (Council for the Development of Social Science Research in Africa) Avenue Cheikh Anta Diop X Canal IV, BP 3304, CP 18524, Dakar, Senegal, Tel: (221) 33 825 98 22 ou (221) 33 825 98 23, Fax: (221) 33 824 12 89, http://www.codesria.org Executive Secretary: Dr. Ebrima Sall Head of the Research Programme: Dr. Carlos Cardoso Sponsored by the Swedish International Development Agency (SIDA) Contents List of Contributors 9. Commodification and Westernization: Explaining declining nutrition intake in Introduction contemporary rural China Zhun Xu & Wei Zhang 1. -
Factors Affecting Automatic Genre Classification: an Investigation Incorporating Non-Western Musical Forms
FACTORS AFFECTING AUTOMATIC GENRE CLASSIFICATION: AN INVESTIGATION INCORPORATING NON-WESTERN MUSICAL FORMS Noris Mohd Norowi, Shyamala Doraisamy, Rahmita Wirza Faculty of Computer Science and Information Technology University Putra Malaysia 43400, Selangor, MALAYSIA {noris,shyamala,rahmita}@fsktm.upm.edu.my characteristics is therefore highly sought. ABSTRACT Musical genre is used universally as a common metadata for describing musical content. Genre The number of studies investigating automated genre hierarchies are widely used to structure the large classification is growing following the increasing amounts of collections of music available on the Web. Musical digital audio data available. The underlying techniques to perform automated genre classification in general include genres are labels created and used by humans for feature extraction and classification. In this study, MARSYAS categorizing and describing the vast universe of music was used to extract audio features and the suite of tools [1]. Humans possess the ability to recognize and analyze available in WEKA was used for the classification. This study sound immediately based on instrumentation, the investigates the factors affecting automated genre rhythm and general tone. Furthermore, humans are able classification. As for the dataset, most studies in this area work to draw connections to other songs that have a similar with western genres and traditional Malay music is sound and feel. These commonalities make it possible incorporated in this study. Eight genres were introduced; Dikir for humans to classify music into different genres. Barat, Etnik Sabah, Inang, Joget, Keroncong, Tumbuk An automatic genre classification is a system that Kalang, Wayang Kulit, and Zapin. A total of 417 tracks from various Audio Compact Discs were collected and used as the allows structuring and organization of the huge number dataset. -
INFANT MORTALITY in NUAULU and NON-NUAULU COMMUNITIES in MALUKU TENGAH: Social Exclusion and Ethnicity in Indonesia1
INFANT MORTALITY IN NUAULU AND NON-NUAULU COMMUNITIES IN MALUKU TENGAH: Social Exclusion And Ethnicity In Indonesia1 By: Lusia Peilouw* Abstrak Nuaulu adalah salah satu komunitas adat di Maluku. Secara geografis komunitas ini tidak terisolasi seperti yang diasumsikan secara umum bahwa masyarakat adat biasanya hidup terisolasi di daerah terpencil. Mereka tinggal hanya beberapa kilometer dari ibukota kabupaten Maluku Tengah, di antara desa-desa yangjauh lebih berkembang. Sebuah penelitian demografis menggunakan kematian bayi dirancang untuk menerangkan fenomena sosial pada komunitas Nuaulu dan bukan Nuaulu. Ditemukan bahwa kematian bayi pada Nuaulu di Rouhua lebih tinggi dari pada bukan Nuaulu di Makariki. Faktor-faktor sosial yaitu pendidikan dan kesehatan dan ekonomi keluarga merupakan faktor determinan yang saling mempengaruhi satu dengan lainnya, sebagaimana dianalisa dengan menggunakan Mosley and Chen framework (1984). Secara laitis studi ini menemukan bahwa praktek-praktek budaya yang masih dipelihara oleh komunitas Nuaulu tidak akan menjadi masalah apabila kebutuhan sosiallain dan kebutuhan ekonomi terfasilitasi. Political will dan kepedulian pemerintahlah yang menjadi masalah dalam konteks ini. Mengabaikan komunitas adat dalam kebijakan pembangunan sosial menyebabkan masyarakat dalam komunitas ini rentan. Komunitas Nuaulu eli Rouhua hanyalah satu dari sekian banyak komunitas adat di negeri ini, dan terletak di daerah yang mudah dijangkau namun selama ini mereka hidup dalam keprihatinan dan kerentanan yang luar biasa. Bagaimana lebih buruknya kondisi komunitas-komunitas adat yang memang secara geografis tidak mudah dijangkau. Nuaulu is a tribal community in Maluku. Geographically this community is not isolated as is commonly assumed tribal communities living in remote areas are. Located among non-tribal communities, it is only a few kilometres from the centre of the Maluku Tengah District. -
At Last, Filipino Cinema in Portugal July 10, 2013/ Tiago Gutierrez Marques
At Last, Filipino Cinema in Portugal July 10, 2013/ Tiago Gutierrez Marques A scene from Brillante Mendoza's "Captive" (Source: filmfilia.com) I didn't know anything about Filipino cinema until very recently, as it’s practically unheard of in Portugal where most people don't even know where the Philippines is on the world map. But there are signs of change. In 2010 a Portuguese cultural association called “Zero em Comportamento” (Zero Behavior), which is dedicated to the dissemination of movies that fall outside the mainstream commercial cinema, organized a four-day retrospective showing in Lisbon of movies directed by acclaimed Filipino director Brillante Mendoza. This also included a masterclass on independent filmmaking in the Philippines, for cinema students and professionals (http://zeroemcomportamento.wordpress.com/arquivo/bmendoza/). This rare opportunity got me very excited, and particularly my Portuguese father, who went to see almost all of the eight movies. At the end of each showing, the audience could directly ask Brillante Mendoza their questions. And just a few months ago, one of Mendoza's latest films, “Captive,” was released in commercial theaters in Lisbon and Porto (Portugal's second city) alongside the usual Hollywood blockbusters. I couldn't believe that we had reached a new milestone for Filipino cinema in Portugal. Director Brillante Mendoza won the Palme d'Or at the 2009 Cannes Film Festival for "Kinatay." (Source: Bauer Griffin) “Captive” is about the kidnapping of a group of tourists by the fearsome Abu Sayaf group from a resort in Honda Bay, in Palawan. They are taken to Mindanao. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country.