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The 9th Asian Festival of Children’s Content 2018

Singapore Book Council (SBC) Press release: Remembering our children’s literary heritage & becoming future ready at 9th Asian Festival of Children’s Content 2018

Singapore Book Council

SINGAPORE, 30 May 2018 – Early bird ticket sales for the 9th edition of the Asian Festival of Children’s Content (AFCC) kicks off today. Running for three days from 6 to 8 September 2018 at the National Library, its theme is Imagine-Asia with Singapore as its Country of Focus to celebrate local children’s literature.

Over 90 Singapore and international writers, illustrators, publishers, storytellers, educators and media producers from 14 countries such as Australia, Indonesia, Japan, Philippines, the UK and US will be featured. Notable speakers include renowned Japanese picture book author and illustrator Satoshi Kitamura; UK publisher Sarah Odedina, who has worked with authors such as J.K. Rowling and Neil Gaiman, and the husband-and-wife graphic novelists and digital storytellers, Colin Goh and Yen Yen Woo of Dim Sum Warriors,.

This year’s AFCC will celebrate Singapore as the Country of Focus in conjunction with the 50th anniversary of Singapore Book Council (SBC). The festival will showcase Singapore’s literary heritage in children’s books, whilst highlighting the new means of content creation and digital platforms for storytelling.

An exhibition to honour pioneer Singapore illustrator, the late Kwan Shan Mei, will showcase some of her award-winning illustrations. Award-winning author Suchen Christine Lim will be giving the annual Children’s Literature Lecture. To enable the industry practitioners to stay abreast of digital trends that have changed the way readers consume stories, AFCC will be featuring sessions that look at digital and cross-platform storytelling, including AR (augmented reality) and VR (virtual reality) technologies.

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Events: Workshops for kids and parents: Augmented Reality (AR) and Virtual Reality Storytelling!

WORKSHOP 1
Workshop - June 22 AR Eventbrite
 
 
Children can experience Augmented Reality (AR) through colouring and designing their first AR programme. 
 
When: 22 June 2018, 10am-12pm
Where: 

SBC Training Room – 90 Goodman Road Blk E #03-32, Goodman Arts Centre, Singapore 439053
*Please note that there is no lift access to the Book Council Training Room (at 3rd level).
Cost: $60
 

Trainer:

Alison Foo – Alison has been an EduTech trainer for the past 2 years and taught over 40 classes with students ranging from pre-schoolers to the elderly. 
 
Benson Teo – Benson possesses both industry and training experiences in 360 productions, AR and VR. He has been an EduTech trainer in immersive media

technologies for the past 2 years.
 
What Will You Learn: 
Participants will learn how to create an AR programme based on a selected narrated story theme.
 
Who Should Attend:
Suitable for 7-12 year olds. Parents may attend as well. 
 
SIGN UP at  ALAP.BOOKCOUNCIL.SG or HERE:   https://goo.gl/Qd5TQv
WORKSHOP 2
Workshop - June 22 VR Eventbrite
 
Turn your own written story into a Virtual Reality experience! Create a simple 3-scene Virtual Reality environment from your own story!
 
When: 22 June 2018, 1pm-3pm
Where: 

SBC Training Room – 90 Goodman Road Blk E #03-32, Goodman Arts Centre, Singapore 439053
*Please note that there is no lift access to the Book Council Training Room (at 3rd level).
Cost: $60
 

Trainer:

Alison Foo – Alison has been an EduTech trainer for the past 2 years and taught over 40 classes with students ranging from pre-schoolers to the elderly. 
 
Benson Teo – Benson possesses both industry and training experiences in 360 productions, AR and VR. He has been an EduTech trainer in immersive media

technologies for the past 2 years.
 
What Will You Learn: 
As we explore the different storybooks, dive into Virtual Reality and watch parts of the story come alive around you.
 
Who Should Attend:
Suitable for 7-12 year olds. Parents may attend as well. 
 
SIGN UP at  ALAP.BOOKCOUNCIL.SG or HERE:  https://goo.gl/A6r4uX

 

 

About Singapore Book Council:

Singapore Book Council

Singapore Book Council (SBC) is a charity founded in 1968. Its vision is to Build Our Imagine-nation by developing creativity, imagination and original thought through writing, reading, illustrating and storytelling. Its mission is to fulfil this vision by developing the literary art sector through books and literary art events, workshops, and awards. Its focus is Asian content, content creation, translation, rights, markets and training. SBC is currently chaired by Ms. Claire Chiang, co-founder of Banyan Tree Hotels & Resorts.

SBC supports the community at all levels, from language programmes and books for children, to aspiring individuals and professionals like writers, illustrators, storytellers and relevant industry partners by providing a platform to learn, network and collaborate. It also organises events to foster professional and community engagement like the annual Asian Festival of Children’s Content and All In! Young Writers Festival, and grants prestigious awards, like the Singapore Literature Prize, to recognise and encourage excellence. Finally, SBC offers publishing-related and literary arts-focused courses and workshops to enhance skills and encourage lifelong learning through its academy. SBC aims to become a hub for Asian content for the world, encouraging stories to be created and told across platforms. Through telling our own stories by writing or illustrations, it promotes understanding, impacts legacy and connects Asia with the world. 

Because it all starts with a story.


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The moon is beautiful tonight: On East Asian narratives

1.
Once a conversation with an Australian friend surprised me; she told me that Haruki Murakami, the world-famous Japanese novelist, struck her as “very Japanese.” “But why?” I puzzled, thinking of the Western pop culture references sprinkled throughout his works and his Englishized prose style.

“Many of his stories don’t have a real conflict,” she said. “Like in 1Q84, you feel all those surreal elements are built up for something, but in the end, nothing really happens. Even the romance between Tengo and Aomame ends up half-baked.”

That day, we were talking about story structure. I told her that very often my workshop friends comment that my stories don’t contain conflict. Their critique reminds me of the East Asian story-telling convention—at the risk of generalization, we tend to generate a plot without using conflict. As opposed to the West’s five-act or three-act, the term Kishōtenketsu is often used to describe the development of a classic East Asian narrative. It includes four different acts: introduction (ki), development (shō), twist (ten), and conclusion (ketsu). Introduction and development are comparable, though only slightly, to exposition and rising action, and conclusion to denouement. There’s not a climax that determines the character’s fate one way or the other in this setup. In fact, the present story in many East Asian narrative remains largely unaffected by the turbulent emotions roiling inside the characters.

Then, you may wonder, what’s the point of storytelling? Isn’t that boring?

It’s still intriguing. Take the great Japanese writer, Junichiro Tanizaki’s The Key. Written in diary form, the novel grapples with the sexual fantasies an elderly man harbors towards his wife, 11 years his junior, and his wife’s towards their daughter’s boyfriend. Both the husband and the wife lock their diaries in drawers, leaving the keys out purposefully—they hope the other will peek. The story is saturated with the couples’ intense suspicions of one another. Reading the book for a third time, I still found myself hooked till the very last page. However, Tanizaki’s work doesn’t involve a conflict in the Western sense.

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Literature is not the sole preserve of the storyteller

Through most of literary history, great writers have either tended to look down upon the art of storytelling or have regarded it with ambivalence. We can trace this attitude all the way back to Don Quixote’s plotless meanderings. Or even further back, to Shakespeare’s rambles and language games. More recently, the Modernist assault on narrativity seemed to have put paid to our storytelling instinct for good. And when James Joyce said that all stories should begin with the phrase “once upon a time”—the opening words of A Portrait of the Artist as a Young Man—everyone understood that he was just having a laugh at the expense of the raconteur.

Even those among modern writers who were interested in the story saw it as an extinct form. The story to them was an old-world relic that was out of place in the complex of modernity. Walter Benjamin’s essay “The Storyteller” interprets the death of the story as the necessary consequence of the birth of the modern era, in which the “communicability of experience is decreasing”. Benjamin’s essay celebrates the simple pleasures of reading the Russian writer Nikolai Leskov’s stories, by identifying “a new beauty in what is vanishing”.

Then there is Virginia Woolf’s essay on Chaucer, which indulges a similar nostalgia the modern writer felt for the straightforward tale. Chaucer, Woolf writes, “has pre-eminently that story-teller’s gift, which is almost the rarest gift among writers at the present day”.

So this essentially was the modern stance towards the story: informed by a belief that the talent for spinning yarns, a vestige from a more innocent past, was the rarest of gifts. The story, in this view, transcended all artistic ideals, even if, for the writer, it meant catering to popular tastes. As the man on the golf course in E.M. Forster’s Aspects of the Novel (1927) says, “You can take your art, you can take your literature, you can take your music, but give me a good story.”

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