In this talk Singaporean poet Tse Hao Guang will look at poetry, including his own which comments on postcolonial and postmodern turns in Singapore culture. He will consider the ways in which Singaporean writers try to employ conversational/natural voices to counter the perception that poetry is elitist. Drawing on Singaporean writing in traditional and nonce forms, particularly writing that makes use of creole and pidgin, Tse will argue that there are ways to productively engage in linguistic experimentation, reclaim a colonial tool, and resist the neocolonial urge to consider such Englishes low prestige, all at once.
Assembled with parts from Hong Kong and Malaysia, Tse Hao Guang 謝皓光 is the author of hyperlinkage (2013) and Deeds of Light (2015, both Math Paper Press). Deeds was shortlisted for the Singapore Literature Prize in 2016. He co-edits the cross-genre, collaborative journal OF ZOOS, and UnFree Verse (2017), the in-progress anthology of Singapore poetry in received and nonce forms. He serves as essays editor of the online educational/critical resource poetry.sg, and is a 2016 fellow of the International Writing Program at the University of Iowa.
No registration is required. For enquiries, please contact Mr. Manni CHEUNG: (E) firstname.lastname@example.org, (T) 2948-7360.
Screening & Discussion: exodus of nowhere, episode 2: gamble
Co-created by Lee Wai Yi, Enoch Ng, and Kelvin Wu, 2014. A v-artivist film.
Date: 21 Nov 2016 (Mon)
Language: (Screening) Cantonese, English and Putonghua, with Chinese and English subtitles; (Discussion) Cantonese, with simultaneous interpretation in English
exodus of no whereis a film series concerning the relationships between the grassroots and the borders. The three filmmakers attempt to understand in what way does the narrative network constituted by migration, border-crossing, wealth disparity, colonization, gender politics, capitalistic globalization and ethnic politics creates countless tragedies of the grassroots, through looking into small family histories and grand narration of human migration.
v-artivist, a Hong Kong community based art group, believes that ‘art is the creative expression of the relationship between individual and collective’, and is thus devoted to “give art back to the people and let people return to art”. most of v-artivist film-length “productions”, which concerns the livelihood of the grassroots, are continuous participatory documentaries that involves co-creation with people who are “being filmed”, including people in deep distress (2013), raging land film series (2010-), walk on! shung ning road (2011), and home where the yellow banners fly (2006). the essay-film trilogy exodus of nowhere is their response to the growing ethnic tension in contemporary Hong Kong. other than filmmaking, v-artivist is also actively engaged in media literary movement to empower the grassroots’ continuous and autonomous engagement with art.
The Centre for Popular Culture in the Humanities cordially invites you to attend a public lecture “Poeticizing The Archives” by poet and essayist, Lawrence L. Ypil. Details of the talk are as follows:
Date: 20 October 2016 (Thursday)
Time: 15:30 – 17:00
Venue: D2-LP-05, Tai Po Campus
For the past few years, poet and essayist Lawrence Lacambra Ypil has been writing about early twentieth century photography. In this talk, he shares his experience of working on his ongoing project entitled “There.” Through a series of lyric essays, he ruminates on postcolonial photography and Southeast Asian urbanity.
In the project, he explores the role of photography in cultural memory, but also the specific challenges faced by the creative writer when confronting the historical archives. What forms of knowledge are revealed, perhaps even revelled in, when one chooses to write poems about history? In what way do hybrid forms, forms which transgress borders between poetry and prose, text and image, permit ways of speaking and singing that allow us a renewed sense of history?
About the Speaker
Lawrence Lacambra Ypil is a poet and essayist from Cebu, Philippines. He received an MFA in Nonfiction Writing from the University of Iowa and an MFA in Poetry from Washington University in St Louis on a Fulbright Scholarship. His first book of poems, The Highest Hiding Place (2009) was given the Madrigal Gonzalez Best First Book Award and his work has received numerous awards including The Academy of American Poets Prize, the Philippines Free Press Awards, and the Don Carlos Palanca Memorial Awards. He is currently writing a book on ethnography, early twentieth century photography and the role of material culture in the construction of cultural identity. His work also straddles the borders between poetry and prose, text and image. He teaches writing at Yale-NUS College in Singapore.
For enquiries, please contact Mr. Manni CHEUNG: (E) email@example.com, (T) 2948-7360.
Speaker: Robin S. Stewart, School of Humanities University of California, Irvine
Since its release in 2006, critical discussions of Feng Xiaogang’s The Banquet have often focused on Feng’s ambition to make a film that would be as successful internationally as his New Year’s films had been in the domestic Chinese market previously. According to this narrative, Feng’s decision to adapt Hamlet was a calculated attempt to leverage Shakespeare’s cultural capital in order to win over Western audiences. While such a cynical reading of Feng’s motives is undoubtedly correct on the surface (as the director’s own word in interviews have indicated), this talk suggests that Hamlet – with its themes of ambition, opportunity, and generational conflict – offered Feng a set of deep thematic resonances to reflect upon his own position within the changing dynamics of Chinese cinema, allowing him to explore his own personal ambitions and ambivalences as well as his ambitions for the Chinese film industry as a whole.
For enquiries, please contact Mr. Manni Cheung via firstname.lastname@example.org