2
10
24
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
One of the aims of this programme is to record the everyday tactics of facing brownness, from strategic silences to confrontation to survival amnesia, to form a general handbook for surviving racism in Singapore.
Programme Type
Reading Group
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Reading Group: Facing Brownness led by Hariharan Vanan from Grey Projects
Description
An account of the resource
Led by Hariharan Vanan, Publications intern, Grey Projects <br /><br />This session is part of the longer programme <i>Facing Brownness</i> that takes place in October and November at Grey Projects. The readings are recently recorded personal narratives of meeting and facing one’s brownness, sometimes as self-reflection and intimate dialogue, and other times by the force of antagonism and violence. Participants and audiences are encouraged to share their experiences, and to speak to the intersections between class and race within the classroom and the school. One of the aims of this programme is to record the everyday tactics of facing brownness, from strategic silences to confrontation to survival amnesia, to form a general handbook for surviving racism in Singapore.
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-10-22
Contributor
An entity responsible for making contributions to the resource
Hariharan Vanan
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Race
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Online film programme of Trinh T. Minh-ha. Films exhibition, co-curated by Dr Marc Glöde and Dr Ella Raidel.
Exhibition Mode
Curated Film Programme
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Exhibition Start Date
1 November 2020
Exhibition End Date
28 February 2021
Dublin Core
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Title
A name given to the resource
Trinh T. Minh-ha. Films. Online Film Programme: Speaking / Thinking Nearby
Description
An account of the resource
<p>Trinh T. Minh-ha’s approach to film has addressed a wide field of discussions—reaching from the ethics of representation in ethnographic film, to aspects of migration, debates on global socio-political developments, and different layers of feminist discourse. Her films are investigations into the question of the voice as well as the relationship between the visible and audible. This programme will present a selection of films that echo some of these discussions negotiated by Trinh in her filmic works as well as her writings, and create a dialogue with other filmmakers and scholars.</p>
<p>Co-curated by<span> </span><strong>Dr Marc Glöde</strong>, Assistant Professor, NTU ADM, and<span> </span><strong>Dr<span> </span></strong><strong>Ella Raidel</strong>, Assistant Professor, NTU ADM and WKWSCI.<br /><br /></p>
<p><strong>1 – 14 November 2020<br /></strong><strong><em>the time is now. (I+II)</em></strong><strong>, Heidrun Holzfeind, 2019<br /></strong>Colour, sound, 48 min<br />Rating: PG</p>
<p>Holzfeind is interested in architectural and social utopias that create an alternative living. She documents the shamanistic rituals of the Japanese improvisation/noise duo IRO, Toshio and Shizuko Orimo, in what they call “Punk Kagura”—in reference to Kagura, a ritual dance tradition and music for the gods. Holzfeind uses a visual language that adapts their mystical rituals: breaks in image; the colour and narrative corresponding with the soundscape; the modernist architecture of Takamasa Yosizaka; and the surrounding nature in which the duo performs a choreography for healing our damaged planet. The urgency is underlined in the title<span> </span><em>the time is now</em>.<br /><br /></p>
<p><strong>15 – 28 November 2020<br /></strong><strong><em>Heaven’s Crossroad</em></strong><strong>, Kimi Takesue, 2002<br /></strong>Video, colour, sound, 35 min<br />Rating: G</p>
<p>What does it mean to “look” cross-culturally? This film follows up on this question by creating a visual journey through Vietnam. Instead of following the established patterns of the classic documentary, Takesue creates an experimental experience that challenges the audience and invites us to reflect on what it means to “truly see another culture”. Within this beautiful visual travelogue, questions of desire, projection, and communication begin to appear, that are embedded in this idea of the cross-cultural encounter.<br /><br /></p>
<p><strong>29 November – 10 December 2020<br /></strong><strong><em>Naked Spaces—Living is Round</em></strong><strong>,<span> </span></strong><strong>Trinh T. Minh-ha,</strong><strong><span> </span>1985<br /></strong>16mm transferred to digital file, colour, sound, 135 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity)</span></span></p>
<p>Six West African countries (Mauritania, Mali, Burkina Faso, Togo, Benin and Senegal) stand in the centre of this film. The work explores the life in the rural environments of these countries by taking a closer look at the everyday. With its nonlinear structure, the film steps away from the classical traditions of the documentary/ethnography tradition and offers a sensuous approach. It is a poetic journey to the African continent in which the interaction of the encountered people or the spaces in which they are living becomes relevant.<br /><br /></p>
<p><strong>11 – 24 December 2020<br /></strong><strong><em>A Song of Ceylon</em></strong><strong>, Laleen Jayamanne, 1985<br /></strong>16mm film, colour, sound, 51 min<br />Rating: PG13 (<span class="TextRun SCXW112179085 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW112179085 BCX9">This film contains mature content and some nudity)</span></span></p>
<p>This film is an intense study of the body, gender and the multiple aspects of colonialism. It addresses theatrical conventions by recreating classic film stills and presenting the body in striking tableaux. A remarkable film on which Trinh T Minh-Ha, in<span> </span><em>Discourse</em><span> </span>(1989), commented: “The anthropological text is performed both like a musical score and a theatrical ritual….The film engages the viewer in the cinematic body as spectacle…”.<br /><br /></p>
<p><strong>25 December 2020 – 5 January 2021<br /></strong><strong><em>Surname Viet Given Name Nam</em></strong><strong>, Trinh T. Minh-ha, 1989<br /></strong>16mm film transferred to digital, colour, sound, 108 min<br />Rating: PG13 (<span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">This film contains s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">ome </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">d</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">isturbing </span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">s</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">cenes</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9"> from the archival footage of the Vietnam War</span></span><span class="TextRun SCXW253057467 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW253057467 BCX9">)</span></span></p>
<p>This film is Trinh’s complex deep dive into the difficulties of translation, as well as themes of exile or dislocation. By using historic material, dance, printed texts, folk poetry and combining it with anecdotal narratives, she examines the status of Vietnamese women since the Vietnam War, as well as the status of images as evidence. It is a complex approach that invites the audience to reflect on the modes of perception and encourages a profound critique of audio-visual strategies.<br /><br /></p>
<p><strong>6 – 19 January 2021<br /></strong><strong><em>Nervous Translation</em></strong><strong>, Shireen Seno, 2018<br /></strong>Colour, sound, 90 min<br />Rating: PG</p>
<p>This film follows the inner voice and play of an eight-year-old girl who cooks perfect miniature dishes, mimicking the world of adults. The perception of the child is translated through fragmentation and sounds that are written into words, such as the ring of the telephone, and the sound of the aircon, all forming together, an orchestra of the everyday. Waiting, boredom, and dead time pave the temporality of her imagination, while she is listening to cassette tapes recorded by her father, a migrant worker in Saudi Arabia. The personal phantasmagoric vision encounters the political dimension echoing the times of the People Power Revolution in the Philippines.<br /><br /></p>
<p><strong>20 – 31 January 2021<br /></strong><strong><em>Reassemblage</em></strong><strong>, Trinh T. Minh-ha, 1982<br /></strong><span lang="en-us">16mm film transferred to digital, colour</span><span lang="en-us">, sound, 40 min<br />Rating: PG13 (<span class="TextRun SCXW256177418 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW256177418 BCX9">This film contains some nudity</span></span><span class="TextRun SCXW262228809 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW262228809 BCX9">)</span></span><br /></span></p>
<p>With her remarkable and widely discussed first film, Trinh brings the conventions of the documentary to our attention and asks how films in the field of documentary and ethnographic tradition have consecutively established a power to manipulate the way in which we perceive different cultures. By gathering filmic means and techniques that reject the traditional narrative forms, Trinh constantly alerts us to our own process of perception, furthermore reminding us that watching a movie is not a passive, but an active process.<br /><br /></p>
<p><strong>1 – 14 February 2021<br /></strong><strong><em>The Human Pyramid</em></strong><strong>, Jean Rouch, 1961<br /></strong>DCP, colour, sound, 93 min<br /><span lang="en-us">Rating: NC16 (<span class="TextRun SCXW8554943 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW8554943 BCX9">This film contains mature content)</span></span></span></p>
<p>At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors. Fomenting a dramatic situation instead of repeating one, Rouch extended the experiments he had undertaken in <em>Chronicle of a Summer</em>, including having on-camera student participants view rushes of the film midway through the story. The docu-drama shows how working together to make the film changes their attitude towards each other.—Icarus Film<br /><br /></p>
<p><strong>15 – 28 February 2021<br /></strong><strong><em>95 and 6 to Go,</em></strong><strong><span> </span>Kimi Takesue, 2016<br /></strong>Digital, colour, sound, 85 min<br />Rating: G</p>
<p>While visiting her grandfather, a recent widower in his 90s in Hawai’i, Takesue begins to follow his everyday routines. When he shows interest in his granddaughter’s stalled romantic screenplay, an interesting discussion about her work, family, memories, and identity unfolds. Shot over six years, this film shows how personal aspects intertwine with a critical reflection of the documentary genre.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 November 2020 – 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Marc Glöde
Marc Glode
Ella Raidel
Heidrun Holzfeind
Kimi Takesue
Trinh T. Minh-ha
Laleen Jayamanne
Shireen Seno
Jean Rouch
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Africa
North America
Subject
The topic of the resource
Feminism
Geopolitics
Ritual
Cultural Heritage
Body
Displacement
Race
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/507850934">https://vimeo.com/507850934</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
507850934
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Introduction: The Human Pyramid by Dr Ella Raidel
Description
An account of the resource
The Human Pyramid, Jean Rouch, 1961 DCP, colour, sound, 93 min Rating: NC16 (This film contains mature content) <br /><br />At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors. Fomenting a dramatic situation instead of repeating one, Rouch extended the experiments he had undertaken in Chronicle of a Summer, including having on-camera student participants view rushes of the film midway through the story. The docu-drama shows how working together to make the film changes their attitude towards each other.—Icarus Film. <br /><br />Jean Rouch (France), ethnographer-turned-filmmaker, was the father of modern cinéma vérité together with his collaborator, Edgar Morin. Their work has had great influence on French New Wave filmmakers.
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-02-17
Contributor
An entity responsible for making contributions to the resource
Ella Raidel
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
Europe
Subject
The topic of the resource
Race
Postcolonialism
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
French
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Sya
Surname or Business Name
Taha
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2019
Affiliation
Company, organization, or institution name
Crit Talk, Singapore
Birthplace
Singapore
Occupation
Professional title or identity
Activist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Sya Taha is a PhD candidate researching on obstetric violence in Singapore. Her interests include decolonial theory, intersectional feminism and medical anthropology. She co-founded and co-runs Crit Talk, a safe discussion space for Muslims.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sya Taha
Subject
The topic of the resource
Activism
Feminism
Race
Decolonialism
Contributor
An entity responsible for making contributions to the resource
Sya Taha
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Hariharan
Surname or Business Name
Vanan
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2019
Affiliation
Company, organization, or institution name
Grey Projects, Singapore
Birthplace
Singapore
Occupation
Professional title or identity
Publications Intern
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Hariharan Vanan (Singapore) is interested in critical questions surrounding lived experiences relating to race and class, as well as the intersections between the two. He is a Publications intern with Grey Projects, and a Sociology and Arts and Culture Management undergraduate at the Singapore Management University.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hariharan Vanan
Subject
The topic of the resource
Race
Institutional Critique
Contributor
An entity responsible for making contributions to the resource
Hariharan Vanan
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Beatrice
Surname or Business Name
Glow
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2021
Birth Date
1986
Birthplace
United States
Occupation
Professional title or identity
Artist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>BEATRICE GLOW is an artist-researcher leveraging interactive multimedia installations and multi-sensory experiences in service of public history and just futures. Her diverse practice includes sculptural installations, participatory workshops, olfactory art, emerging media, and multi-lingual publishing. She has been named a 2021 Yale-NUS College Artist-in-Residence; 2019-2020 Lower Manhattan Cultural Council Workspace Artist with Visiting Artist status at LaGuardia Studio and the Studio Art Department at New York University; 2018-19 Smithsonian Artist Research Fellow; 2018-19 Smack Mellon Studio Program Artist; 2017-18 ZERO1 American Art Incubator lead artist to Ecuador in partnership with US Department of State’s Bureau of Education and Cultural Affairs; 2016-17 Artist-in-Residence at the Asian/Pacific/American Institute at New York University; Honolulu Biennial 2017 artist, 2015 Wave Hill Van Lier Visual Art Fellow, 2015 Joan Mitchell Foundation Emerging Artist Finalist, Hemispheric Institute Council Member, 2013 Franklin Furnace Fund grantee and 2008-9 US Fulbright Scholar. Solo exhibitions include Beatrice Glow: Once the Smoke Clears at Baltimore Museum of Art (forthcoming in 2022); Forts and Flowers at Taipei Contemporary Art Center (2019); Beatrice Glow: Spice Routes/Roots, at the Duke House with NYU Institute of Fine Arts (2017); Aromérica Parfumeur with Museo Nacional de Bellas Artes de Chile; Lenapeway and The Wayfinding Project at New York University; Rhunhattan Tearoom at Wave Hill; and Floating Library — a pop-up, mobile device-free public space aboard the historic Lilac Museum Steamship —on the Hudson River. Glow work has been featured in Panorama Journal of the Association of Historians of American Art, Cultural Politics Journal, post at MoMA, Art Newspaper and has published Taparaco Myth, a trilingual artist book (Chinese, English and Spanish). She has presented performance lectures at Asia Contemporary Art Week’s Field Meetings at Asia Society and Venice Biennale 2015. She regularly works with students and has presented artist talks at New York University; Columbia University; Hunter College; Concordia University; and New York Institute of Technology, amongst others. As a Hemispheric Institute Council Member, she co-founded the Performing Asian/Americas: Converging Movements workgroup. She serves as the program manager for The Public History Project and is a faculty member at the School of Visual Arts MFA Art Practice Program teaching a course on Diasporic and Decolonial Art History, Theory and Practice. She holds a BFA in Studio Art from NYU.</span>
Personal Website
Leave blank if not applicable
<a href="https://beatriceglow.org">https://beatriceglow.org</a>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United States
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Contributor Type
Artist
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Beatrice Glow
Subject
The topic of the resource
Diaspora
Identity
Race
Migration
Contributor
An entity responsible for making contributions to the resource
Beatrice Glow
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
South America
Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
NTU CCA Singapore will present a selection of films from the Asian Film Archive (AFA) with a focus on independent cinema from Southeast Asia. The launching session will feature the first part of Sherman Ong's film Flooding in the Time of Drought (Singapore, 2009).
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
Yes
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Film Screening in collaboration with Asian Film Archive
Subject
The topic of the resource
Migration
Diaspora
Displacement
Race
Ritual
Description
An account of the resource
Thu 21 May 2015<br />Wed 3 Jun 2015 Block 43 Malan Road, The Single Screen <br /><br />Part I: DROUGHT – 92 mins | Colour | with English subtitles Language: Hindi, Indonesian, Italian, Tagalog, Mandarin, German<br /><br />Part II: FLOOD – 92 mins | Colour | with English subtitles Languages: Japanese, Korean, Mandarin, Thai, Indonesian, Malay, Hokkien <br /><br />NTU CCA Singapore will present a selection of films from the Asian Film Archive (AFA) with a focus on independent cinema from Southeast Asia. The launching session will feature the first part of Sherman Ong's film <em>Flooding in the Time of Drought (</em>Singapore, 2009). This docu-narrative fusion depicts the lives of foreign immigrants as they face an impending water crisis. Touching on issues as diverse as ethnic discrimination, ritual beliefs, World War II, and racial tensions in post-’97 riots Indonesia, the film explores how ingrained problems are transported along with migrant communities.
Contributor
An entity responsible for making contributions to the resource
Sherman Ong
Asian Film Archive
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Online Screening: <em>T</em><em>he Human Pyramid</em>, Jean Rouch, 1961
Subject
The topic of the resource
Race
Description
An account of the resource
<p><em>The Human Pyramid</em>, Jean Rouch, 1961<strong><br /></strong>DCP, colour, sound, 93 min<br /><span lang="en-us">Rating: NC16 (<span class="TextRun SCXW8554943 BCX9" lang="en-sg" xml:lang="en-sg"><span class="NormalTextRun SCXW8554943 BCX9">This film contains mature content)</span></span></span></p>
<p>At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with students there who willingly enacted a story about the arrival of a new white girl, Nadine, and her effect on the interactions of and interracial relationships between the white colonial French and Black African classmates, all non-actors. Fomenting a dramatic situation instead of repeating one, Rouch extended the experiments he had undertaken in <em>Chronicle of a Summer</em>, including having on-camera student participants view rushes of the film midway through the story. The docu-drama shows how working together to make the film changes their attitude towards each other.—Icarus Film.<br /><br /><span>This film is part of the Film Programme: </span><em>Speaking / Thinking Nearby</em><span>, co-curated by </span>Dr Marc Glöde<span>, Assistant Professor, NTU ADM, and </span>Dr Ella Raidel<span>, Assistant Professor, NTU ADM and WKWSCI, and accompanies the exhibition, </span><em>Trinh T. Minh-ha. Films.</em></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 - 14 February 2021
Contributor
An entity responsible for making contributions to the resource
Jean Rouch
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
-
Dublin Core
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Title
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
For Jean Rouch’s landmark film The Mad Masters, the French filmmaker himself coined the term “ethnofiction” due to the blending of both documentary and fictional aspects.
Between 1947 and 1951 the experimental filmmaker Maya Deren spent significant periods of time in Haiti to make a film about Voodoo rituals and rites. The material she shot was left unedited until after her death when it was assembled into the film Divine Horsemen: The Living Gods of Haiti.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Screenings: <em>The Mad Masters</em>, Jean Rouch, France, and <em>Divine Horsemen: The Living Gods of Haiti</em>, Maya Deren, Ukraine/United States
Subject
The topic of the resource
Ritual
Race
Supernatural
Description
An account of the resource
<div class="event_single_dates text__exhibitions">3 Nov 2017, Fri 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><span>Introduction by </span><strong>Dr Marc Glöde</strong><span>, film scholar and Assistant Professor, School of Art, Design and Media (ADM), NTU</span><br /><br /><p><strong><em>The Mad Masters</em></strong><strong>, Jean Rouch, France, 1955, 36 min</strong></p>
<p>For Jean Rouch’s landmark film <em>The Mad Masters</em>, the French filmmaker himself coined the term “ethnofiction” due to the blending of both documentary and fictional aspects. Rouch takes his viewers to the city of Accra (West Africa) where he follows the Hauka movement and their religious and ritual proceedings, consisting of mimicry and dancing to become possessed by British Colonial administrators. The work caused a highly political debate since on one hand it was considered offensive to colonial authorities because of the Africans’ blatant attempts to mimic and mock the “white oppressors” and, on the other hand, African students, teachers, and directors found the film to perpetrate an “exotic racism” of the African people. An outstanding film that until today is one of the classics to be revisited and discussed.</p>
<strong><em>Divine Horsemen: The Living Gods of Haiti, </em></strong><strong>Maya Deren, United States, 1985, 52 min</strong><br /><br /><span>Between 1947 and 1951 the experimental filmmaker Maya Deren spent significant periods of time in Haiti to make a film about Voodoo rituals and rites. The material she shot was left unedited until after her death when it was assembled into the film </span><em>Divine Horsemen: The Living Gods of Haiti</em><span>. Deren’s work reveals the ongoing merging of art and ethnography, one of the legacies of Surrealism, also standing as an important cultural record of Haitian Voodoo—a religion based on West African beliefs and practices, combined with aspects of Roman Catholicism. The contrasting of Haitian dance with ‘non-Haitian elements’ in a series of dream-like sequences testifies to Deren’s Surrealist interest in alternative realities. Gradually, the focus shifted from dance to the complex nature of Haitian ceremonies, while celebrating Haiti for its hybrid culture as well as for its symbolic importance as the political site of a successful slave revolution, which resulted in Haiti becoming the first modern black republic.</span><br /><br /><span>These Screenings are part of the public programme of </span><em>Ghosts and Spectres – Shadows of History</em><span>.</span></div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-11-03
Contributor
An entity responsible for making contributions to the resource
Jean Rouch
Maya Deren
Marc Glöde
Marc Glode
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
North America
-
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094ce14b7d0dd758b0caa536c711128e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Building upon his ongoing research into the tropes and evolving definitions of Malayness, Zulkhairi Zulkiflee plans to unpack the implications of the word “world” as it is commonly employed in Singaporean-Malay, tracing the complex socio-political implications that linger in the mixture of desires and tensions oriented towards global belonging.
Cycle
Cycle 10 (2023 - 2024)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Zulkhairi Zulkiflee
Subject
The topic of the resource
Race
Identity
Decolonialism
Description
An account of the resource
Building upon his ongoing research into the tropes and evolving definitions of Malayness, Zulkhairi Zulkiflee plans to unpack the implications of the word “world” as it is commonly employed in Singaporean-Malay, tracing the complex socio-political implications that linger in the mixture of desires and tensions oriented towards global belonging. In the Singaporean-Malay slang, “world” is used to signal boastful aspirations towards a social status higher than one’s own, often conveyed through self-aggrandising story-telling. Utilising this as an alternative framework to the postcolonial notion of “worlding”, whereby one’s conceptualisation of the world is devised through colonial attachments, the artist will spend his residency investigating the multitude of meanings behind the word’s usages as a way of unravelling sociolinguistic constructs and processes of identity formation. This research will ultimately result in lens-based explorations that engage with “world” through conceptual propositions and visual arrangements comprising archival photos and sociohistorical accounts.
Date
A point or period of time associated with an event in the lifecycle of the resource
3 April - 31 August 2023
Contributor
An entity responsible for making contributions to the resource
Zulkhairi Zulkiflee
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Video
Photography
Installation
Mixed Media