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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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Comforting myths – Notes from a purveyor

Who gets to tell stories? Let me answer this quickly: for the most part—and the exceptions are relatively recent—the writers who are allowed to talk are those who prop up the dominant culture, who reflect it with a gilded mirror. But wait: writers have been critical of the dominant culture for quite a while, you may say. Look at James Baldwin, look at Margaret Atwood and The Handmaid’s Tale. Well, fine, but criticism of the culture is not necessarily a threat to it. When the story is truly threatening, the writer is marginalized, either deemed a “political” writer or put in a box to be safely celebrated as some sort of “minority” writer. In his day Baldwin was considered more a black writer than a writer, and so he still is. If he is inching his way into the canon, it is because the culture has shifted. Overt racism is a bad thing now, so a liberal American can read Another Country and think, sure, there were a few bad apples back then, but this is not about me or how I live. It is easier now to tell ourselves that Baldwin is not talking about us, that he is criticizing people we no longer are.

When I bring this up in conversation, people stop me in my tracks because, you know, Conrad, Heart of Darkness and all that. Didn’t he criticize empire?

He didn’t. A story about a bickering couple does not threaten the institution of marriage. Heart of Darkness might disapprove of colonialism, but it’s not an attack on empire itself. The book deals in strict dualities and reinforces the superiority of Western culture and ideas. Africa, its jungle, is what blackens Kurtz’s heart, and just in case you start to feel uncomfortable because you find yourself identifying with him, the supposed bad apple—the Lynndie En­gland of nineteenth-century Europe—Marlow, the novel’s cordon sanitaire, is there to make you feel better. If that’s not enough, it’s actually some other shadowy narrator telling you what he heard when listening to Marlow’s story, so you, imperial citizen, are at least two steps removed from the apple and its African rot. No need for you to feel yourself in jeopardy. Your world might not be perfect, but that other world, that world of the other, is just simply horrid.

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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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Finding Eastern and Western selves through Eastern and Western stories

Gish Jen investigates the effect of Western cultural influence on storytelling and identity.

…….

Namrata Poddar: In exploring cultural assumptions and differences, your book aptly reminds the reader that the East and the West aren’t mutually exclusive binaries, or for that matter, strict geographical concepts. And yet, it repeatedly reminds the reader how differences in Eastern and Western conceptions of the self do dominate our understanding of creative practices. Can you reiterate your understanding of East–West perceptions toward the self? What do you think are some of the factors engendering this cultural gap?

Gish Jen: This is an enormous simplification but in a nutshell, people in Western industrialized societies, especially the U.S., tend to imagine ourselves as avocados: We imagine ourselves as having a big pit at our center, to which we must above all be true. What’s more, we are preoccupied with the features of those avocado pits, and the ways in which they are unique. In other parts of the world — and, I should say, many parts of the U.S. — people are also unique, courageous and capable of independent action. They have just as much integrity and just as much creativity. But if you ask them why they just undertook what they undertook or made what they made, they will not say because they did it to be true to their avocado pits. Rather, they will say they did what they did out of duty or obligation — because they wanted to repay someone for something, or because their religious beliefs demanded it of them, or because they saw themselves as a part of a great artistic tradition. This might entail self-expression, but it will not be self-expression for self-expression’s sake. That is, the reason will not be their avocado pit.

The factors contributing to this difference? There are way too many to list. But to give you an idea, they range from the realities of rice farming to the experience of immigration to the American frontier to the invention of the horse collar.

NP: As a creative writer, I’m particularly intrigued by the ways in which your book shifts the reader’s understanding of storytelling in different parts of the world. What do you perceive as some of the key differences between Eastern and Western literary storytelling?

GJ: Oh, how I hate to generalize(!) — aware as I am that, truly, every writer is sui generis. But in a general kind of way, post-19th century Western literature has tended to focus on the avocado pit — on the exploration of a single character, whose interior — visible or not — is given great consideration. This character’s idiosyncrasy is more important than his or her representativeness; the character must, above all, not have what MFA programs call a “generic” quality. And the structure of the story further reinforces the idea that nothing counts more than the avocado pit, as the pit ultimately generates the plot events.

In earlier Western literature, as well as much non-Western literature, characters are more often “types,” and often cope with, rather than drive, events. Of course, they, too, have inner lives. But the uniqueness of those lives is less important; and the overall emphasis is often on a group or network of characters, even on capturing an entire world.

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This Side of Syria: Best Books to Understand the Syrian Experience

Americans have long prided themselves on the idea that we are a nation of immigrants. Even considering the complexity of this notion, the idea itself remains a point of emphasis in our national identity. One of the most enduring symbols of the United States is a woman holding a torch aloft in a harbor beckoning travelers to safe refuge, our Statue of Liberty. And yet in times when we have perceived that our security is waning, we lash out at these very immigrants who, in times of relative safety, we claim as a point of national pride.

Now, in the midst of a staggering global refugee crisis, we are seeing the fabric of our nation’s identity being tested once again. The brutal civil war plaguing Syria has displaced millions, forcing Syrians to flee their war-torn home and seek solace from inhumane and terrifying conditions. The United States has often stood at the forefront of refugee resettlement, but under the cloak of fear, President Trump is pushing this country to once again close off its borders.

It is, unfortunately, easy to ignore this crisis, to forget that those fleeing are seeking refuge from cruel circumstance – and often death. Literature once again, though, proves to offer a powerful window of empathy – a reminder of the essential humanity in all of us. In times like these, empathy and understanding are paramount. To hopefully help gain a better understanding of Syria, its people, and its rich literary tradition, we’ve pulled together a number of books and novels by Syrian authors or simply about the Syrian experience.

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The Restless Brilliance of Hassan Blasim by Bhaswati Ghosh

Bhaswati Ghosh

Iraqi writer Hassan Blasim came to me rather unremarkably. In the dead of Canada’s fierce winter in January 2017, I had a sudden desire to read and cook from conflict zones around the world. I say sudden, but given the blood-stained cloud that hangs over Syria, Yemen, Iraq and much of the Arab world and parts of Africa, this couldn’t have been all that abrupt a thirst. The Corpse Exhibition and Other Stories of Iraq, Blasim’s debut short story collection, was one of the first books I borrowed from the library for my quest.

I didn’t make much of the simple black cover of The Corpse Exhibition, translated from the Arabic by Jonathan Wright. Nothing — not its blackness or even a statutory warning on the cover (had there been one) — could have prepared me for what lay inside. Such was the emotive force of Blasim’s words that despite the macabre scenarios they pressed between themselves, I kept turning the book’s pages with hypnotic urgency.

The sharpness of Blasim’s storytelling knife stabbed me with the very first story in the collection, titled The Corpse Exhibition. Written in the backdrop of the Iraq War, the story puts a chilling spin on the practice of displaying executed bodies in public. The narrator, evidently the leader of an organization involved with curating corpse exhibitions, speaks in a clinical tone to a prospective new hire. The emphasis on the aesthetics of the displays — the boss cites as a prime example the naked corpses of a breastfeeding mother and her child, placed under a dead palm tree with not a trace of wound on their bodies — layers the story with a degree of perversion that’s so disturbing it is riveting.

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The Lounge Chair Interview: 10 Questions with Perumal Murugan

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By Aminah Sheikh

Let’s get down to brass tacks. Why do you write?

We do a lot of things, not knowing why. The same is true of writing. I don’t have a clear answer to this question. It could be said that I write because writing is my second nature.

Tell us about your most recent book or writing project. What were you trying to say or achieve with it?

My novel Poonachi Allathu Oru Vellatin Kathai (Poonachi or The Story of a Goat) was published in January 2017. It tells the story of a goat’s life in its entirety. In the novel, I experimented with writing both in the conventional mode of storytelling as well as deviating from it. Writing about a goat was more suited to my heart than writing about human beings. I share my experiences and perspectives through my writing. But for that, I don’t think of conveying anything or achieving anything with it.

Describe your writing aesthetic.

My style of writing is very simple. Many stories lie buried in my heart. Of these, I select the one which takes a complete form, and when time and state of mind are conducive, I sit down to write. Life is a multi-layered entity. It is writing with this understanding that perhaps defines the aesthetic of my work.

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Storytelling: Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking Glass rendered into Urdu

The lost form of Urdu story telling — Dastangoi — was rediscovered at The Attic, a cozy little venue at the Regal Building in Connaught Place by a group of children.

The venue was packed to the brim with young kids, as well as adults on Tuesday to listen to an adaptation of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking Glass titled Dastan Alice ki . Continue reading


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Singapore-based Filipino filmmaker Paul David Sarabia wins top prize in ‘Our Better World’ storytelling competition

Our Better World,  an online storytelling initiative powered by the Singapore International Foundation, has unveiled the winners of its first ever video storytelling competition, which focuses on people in Asia doing good to improve the lives of others.

The competition received a diverse mix of stories, from films on foot spas run by the visually impaired, to young people teaching street kids through graffiti and street art, and even fitness enthusiasts engaging in Zumba exercises with the elderly – a testament to how there are countless ways to improve the lives of others. Continue reading