IN MEMORIAM/FEATURES
Vol. 4, Issue 17 Wednesday, March 16, 2016 Yale-NUS College, Singapore
FEATURES Interview with Andy Bird, the Chairman of Walt Disney International
ARTS A look at art events around Singapore
OPINION The Art of Comedy Gender Equality
AN EVENING WITH DISNEY Andy Bird spoke at Yale-NUS College on March 7 2016.
IN MEMORIAM
photo credit to High Breed Media, Tamil Language Festival story by Yip Jie Ying, Features Editor reporting by Yip Jie Ying and Spandana Bhattacharya photo credit to Public Affairs
ndy Bird is the Chairman of Walt Disney International. Currently on a 12-day world tour, Mr. Bird stopped by Yale-NUS College on the evening of March 7 2016 to give a talk on “The Importance of Localisation: Establishing Disney’s Place in the Global Marketplace”. In an exclusive interview with The Octant prior to the highly engaging session, Mr. Bird discussed his job as Chairman, Disney’s social responsibility, how his educational background—he has a degree in English Literature—has shaped his professional life, and some of his favorite Disney films. Excerpts from the interview follow:
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What does your job entail? So, I’m broadly responsible for developing the company’s business outside the United States. And what that entails is working on a strategy to ensure that both the products that we create and the
businesses that we operate are locally relevant to each market. Rather than being the Walt Disney Company China, the Walt Disney Company Singapore, the Walt Disney Company Brazil, we’ve got to ask ourselves the questions “how do we become the [Singaporean] Walt Disney Company, rather than the Walt Disney Company Singapore, which is sort of a representative office of the US, how do we become Singaporean?” I am responsible for leading a team with 45 offices around the world [with] tens of thousands of cast members and employees and we help devise strategies [on a] market-by-market basis and grow the company. That’s my job! Kinda fun, huh? It’s like solving puzzles, because every country has its own unique set of dynamics, its own level of development and it can vary. Do you have any examples of the challenges that you overcame in expanding Disney in different markets?
The Octant was deeply saddened to hear about the death of Professor Bernard Bate on Friday. We fondly remember him as one of Yale-NUS College’s most affectionate and compassionate faculty members. To know Prof. Bate was to be close to him. Members of the Yale-NUS community have set up a Facebook page (https:// www.facebook.com/ rememberingBarneyBate/), where students, faculty members and friends can share their memories of Prof. Bate. We plan to publish an obituary of Prof. Bate in the coming days.
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FEATURES
The biggest challenge is finding the right people, giving them the right tools and training to go and represent our company and empowering them, and trusting them. Because, if we are going to build the Indonesian Walt Disney Company, we need to go and find really clever, really smart Indonesians! Because they are going to be better at doing that, than me! You can write great papers and have great presentations, but if you don’t have great people, the paper doesn’t translate into action. Considering how Disney forms a big part of one’s childhood and in the socialization process of young children, what kind of social role and responsibility do you think Disney has? Huge. We are not only a family brand, we are a very consumerfacing brand. We owe the public the responsibility to make sure that we never stray from the core DNA and that it’s consistent. The Disney you would experience here is the same Disney you would experience in the UK, and the same as you experience in LA. We take that responsibility very seriously, and [because] we are guests in these countries, we need to be respectful of culture, respectful of traditions, respectful of the [community]. So we spend a lot of time on outreach, big volunteering programs and [our] CSR [Corporate Social Responsibility] program, because I want [us] to be involved in the communities that we do business in, so we try to give back. It’s a very, very important thing in today’s day and age and you would expect that of Disney. You have to hold yourself to a much higher standard, so we take all of those areas of our responsibility very, very seriously.
different things going on simultaneously and my head is like a Virginia Woolf novel. I think, to do my job—and that is just a general note of advice from me—curiosity is a great attribute to have. And I have always been very curious. I was curious about the origins of the [English] language and I found that fascinating and that curiosity has carried over into my professional career. What are your favorite Disney films? Is there one film that you would recommend everyone to watch? My favorite Disney character is Goofy. Well, I have a couple [of favorite Disney films]. When I was growing up in England, I remembered going to see 101 Dalmatians and I loved Toy Story, because the main character is Andy, but also [because] it’s such a revolutionary feature film. And more recently, I’ll tell you a film we have coming up this year that you have to see. It’s The Jungle Book. They have taken the 3D technology that you’ve seen in Life of Pi, and multiplied it by a factor of x. And it’s fantastic. The only human in the entire film is the lead, Mowgli. Everything else is computer generated, and it’s fantastic. Is there one book that you think everyone should read? The trouble is, when I did English literature I read so many books. You read two Shakespeare plays a week, which is awesome. I actually really like Wilfred Owen, one of the First World War poets. [And] T.S. Eliot. Can’t go wrong with a bit of T.S. Eliot. Favourite Disney song? “Let It Go.”
How has your educational background in English literature and language helped you in your professional life? One of my favorite authors was Virginia Woolf and the notion of multiplicity of consciousness. And that’s my brain! I’ve so many
Andy Bird addresses Yale-NUS College on the importance of 2 | MARCH 16, 2016
ARTS
DEPART: ARTS EDITOR PICKS story by Tan Jia Hui, Arts Editor illustration by Tan Jia Hui and David Chia Jun Weng
reak away from your mundane daily routine and depart from the Yale-NUS College bubble to explore a culmination of all that is new, refreshing, and scintillating in Singapore’s flourishing art scene. The Octant Arts Editor has put together a list of four upcoming art events to attend in the coming months.
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FOR CONNOISSEURS OF CHINESE INK ILLUSTRATIONS:
BEAUTY BEYOND FORM AND AFTER THE RAIN et in touch with your inner Sino-painter as you immerse yourself in one of the oldest artistic traditions in the world—Chinese ink painting. Explore the philosophical and political influences, which have irreparably shaped the development of Chinese ink painting, through the two galleries of Wu Guanzhong’s Beauty Beyond Form and Chua Ek Kay’s After The Rain. Wu (1919-2010) studied in Paris during the 1940s, where he gained access to the world of Western modernist art. His artworks seamlessly meld Chinese and Western styles together, converging into an extensive repertoire of aesthetic techniques that grant viewers a unique perspective on art. His synthesis of the two ostensibly antithetical worlds is summed up by his artistic philosophy. “To indigenize oil painting and to modernize Chinese painting,” he said, “are two sides of the same face.” Similarly captivating is Chua’s (1947-2008) gallery, the physical manifestation of the acclaimed late artist’s historical background as one of Singapore’s leading ink painters. Chua’s affinity with water
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is paralleled in his ink illustrations where it is a prevalent motif: watery reflections, lotus ponds, and rain are emblematic of his works. The symbolic value of water also alludes to the potential for growth and renewal upon the overcoming of adversity, reflecting Chua’s personal artistic journey. Together, the duo’s galleries continue inspiring and captivating audiences in a contemporary setting, in which Chinese ink painting is gradually being rendered obsolete.
By National Gallery Singapore Both Wu Guanzhong’s Beauty Beyond Form and Chua Ek Kay’s After The Rain will last till May 3 2016 National Gallery Singapore Free admission for Singapore Citizens/PRs $20 for Non-Singaporeans
Wu Guanzhong, Zhangjiajie (1997), photo credit to the National Gallery of Singapore MARCH 16, 2016 | 3
ARTS
FOR SCIENTIFIC SAVANTS WHO WOULD OTHERWISE
REJECT ALL THINGS ART: FUTURE WORLD
Future World, photo credit to teamLab itness as art transcends time yet again by shedding its previous limited capacity of the traditional pen-to-paper and embracing its newly-enhanced technologically digitized form. ArtScience Museum will soon unveil Future World, a concoction of multitudinous interactive artworks and digital experiences. Featuring 15 magical installations in total, this exhibition is a collaboration with teamLab, a globally renowned Japanese group of ultra-technologists and a multi-award winning art collective. Be stunned as you enter an ostensibly infinite field of luminous flowers in Flutter of Butterflies Beyond Borders. A combination of three different artworks, this stunning virtual environment is inspired by the manifold interactions between human actions and the natural realm. By visually depicting the transience of delicate flowers, the work parallels nature’s endless cycle of growth and decay.
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Furthering the theme of perpetual change is the installation’s digital adaptation and evolution where it progresses alongside that of the temporal seasons, connoting vibrancy rather than stagnancy. Another technological feat of wonder is Crystal Universe, an interactive installation which re-creates the dazzling cosmos around you at the touch of a finger. A permanent exhibition, ArtScience Museum will unveil Future World on March 12, 2016.
By ArtScience Museum and teamLab From March 12, 2016 onwards. ArtScience Museum $14 for Singaporean Residents $17 for Non-Singaporeans
PHOTOGRAPHER PUNDITS, REJOICE!: STEVE MCCURRY: THE ICONIC PHOTOGRAPHS mmerse yourself in the evocative color images of worldrenowned American photographer Steve McCurry in the latest exhibition by Sundaram Tagore Singapore. Known for being the first photographer to bring the world images of the Afghan conflict, McCurry’s photo subjects span across the globe, covering areas of international and civil conflict, and documenting ancient traditions and vanishing cultures vis-àvis contemporary culture. Having personally selected fifty-three photographs for this particular exhibition, McCurry’s works might diverge geographically—with images from Afghanistan, India, Turkey, Tibet, Sri Lanka, and more—but remain ever accessible in their transcendence of cultural boundaries, through their individualistic encapsulation of the human condition. He has been honored with some of the most prestigious awards in the industry, including the National Press Photographers Award, four first prize awards from
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the World Press Photo contest, and the Robert Capa Gold Medal. Most recently, the Royal Photographic Society in London awarded him the Centenary Medal for Lifetime Achievement. His exquisite use of vivid color, and unwavering commitment to capture the quintessence of his subjects, have made his images timelessly captivating for generations of viewers.
By Sundaram Tagore Singapore Till April 7, 2016 From 11 am – 7 pm Gillman Barracks, 5 Lock Road, #01-05, Singapore 108933 (Sundaram Tagore Gallery Singapore)
ARTS
Gillman barracks steve mccurry photos, photo credit to Steve McCurry
FOR THE THEATRE AFICIONADO IN YOU: CAMERON MACKINTOSH’S LES MISÉRABLES MUSICAL e regaled by the unforgettable tale of heartbreak, passion and the resilience of the human spirit against the captivating historical backdrop of 19th century France. Based on Victor Hugo’s classic novel, it brings the much-adored characters to life in a blockbuster musical, which has been seen by over 70 million people worldwide in 42 countries, and in 22 languages. One of the world’s greatest musicals, Mackintosh’s new production features glorious modernized staging, orchestrations and dazzlingly re-imagined scenery inspired by paintings of Victor Hugo. Prepare to weep with heart-wrenching sorrow in one moment, as you revel in the glorification of the shared human triumph in the next. Summed up in four words, Le Figaro, Paris, succinctly makes its case—“Magnificent Misérables—Artistic Perfection”, indeed.
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les mis musical, photo credit to MediaCorp VizPro International.
By Cameron Mackintosh Dates: Tuesday, 31 May – Sunday, 17 July 2016 Venue: Esplanade Theatre Ticket Pricing: S$228, S$198, S$168, S$128, S$98, S$58 MARCH 16, 2016 | 5
OPINION
THE ART OF COMEDY
“George Carlin? I mean, he’s funny column by Dennis Chiang, Guest Columnist illustration by Rachel Lim Wan Shuen
ne of the greatest artists alive today—though he would never admit it—is a man named William Frederic Burr. Over his illustrious 24-year career, his work is some of the most brilliant art pieces of the modern day. Subversive and irreverent of our cultural taboos, his incisive explorations of controversial subjects illuminates the biases that underpin much of society. His sincerity comes across in his art and engages a wide range of people, from the bourgeoisie to the working class. But here’s the catch: Bill Burr is a stand-up comedian. Comedy as an art form has only until recently gained legitimacy and popularity in the public eye—mainly due to the political satire of the likes of Bill Maher, Stephen Colbert, Jon Stewart and John Oliver on late night television. However, political talk shows seem to be the only arena whereby great stand-up comics can gain any legitimate respect for their craft. The common perception of stand-up comedians outside this category tends towards low-brow entertainers who get audiences off on cheap laughs. It is a shame that stand-up comedians are not taken seriously because after all, what’s there to take seriously in comedy? The wider arts community views stand-up comedians as a group that don’t do “legitimate” art but merely make fun of society using
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offensive stereotypes about various demographic groups. Is that really the case? In crafting humor that pokes fun at politically correct and orthodox views, stand-up comedians allow us to laugh at our own world-view and see the weakness in our positions. This creates much needed empathy for our ideological rivals. Yet we don’t afford the same respect to stand-up comedians as we do for other artists such as musicians or poets. Arguably, comedians like Richard Pryor and Dave Chapelle have performed poignant yet humorous bits on being black in America. They illuminate important socio-economic class issues and structural biases in the criminal justice system (just check out Chapelle’s bit on the age of consent and how it’s applied unfairly to blacks). One of the late, great George Carlin’s most amazing routines dealt with the changing linguistic framework of society and how direct language was now being obfuscated to cover up the atrocities of war. This is almost identical to the work that revered academic Noam Chomsky gets a lot of fame for yet Carlin barely receives a fraction of the acknowledgement. People often underestimate how much effort it takes to craft good stand-up. It takes years of practice to develop your style. Furthermore, working biting commentary about important social
OPINION
issues into your routine is made more difficult given the current outrage culture. In my stand-up set last year I successfully ran what many would consider a ‘slut-shaming’ joke. Hopefully laughing at the joke shed some light on the conservative position of abstinence and serial monogamy. It takes time and no small degree of panache to craft and pull off a joke like that, yet people still undervalue comedy and the work it takes. The consequence of this devaluation of comedy is that there is very little protection for things like joke-thievery and plagiarism in the business. It’s just not taken very seriously. For instance, renowned joke thief Carlos Mencia, was given a HBO special “The Mind of Mencia” despite him stealing some of his material from young-and-upcoming comedians in small comedy clubs. The producers at HBO and the managers of these comedy clubs didn’t do anything because Mencia’s audienceship was making them money and there were no legal repercussions for what he was doing. Much like other art forms, a one-minute piece that Mencia stole could have taken an upstart comic half a year to hone and polish. We take plagiarism in published works of
literature so seriously yet when it’s done in stand-up comedy circles nobody cares about it. As a revolutionary education model of the world, Yale-NUS College could help reverse this lack of prestige of comedy in the art world by reifying comedy as a discipline. Perhaps we could have an elective in the art of political satire? Or even a Minor in Arts & Humanities (Comedy Track) could be something we might want to explore? Comedy at its highest level has the power to change minds and help us deal with the painful truths we would rather avoid. The gift of laughter is one of the most precious things humanity possesses and we should appreciate it far more than we currently do. The views expressed here are the author’s own. The Octant welcomes all voices in the community. Email submissions to: yncoctant@gmail.com
GENDER EQUALITY ISN’T JUST A FEMALE PROBLEM column by Justin Ong, Opinion Editor illustration credit to Roger Ko
s most feminists would argue, I do believe that being a male in today’s day and age confers its benefits. This isn’t purely a “feminist narrative” but it is backed by actual everyday occurrences. By and large, being female means having to bear the burden of wage gaps, and constitutes the lack of basic human rights in many parts of the world. In addition, women grow up enduring history lessons about mainly male endeavors, even accepting language biases where female insults are often animalized or “whore-ified” (whore, slut) as opposed to male insults, which are more humanized (jerk, dick). This is just the tip of the iceberg. What I’m arguing here is not that males have it harder in general, for this is not the case. What I am suggesting is that due to gender inequality and the premise that “males have it better”, a lot of problems that men face today are often ignored, even intentionally downplayed, not just by females, but by men themselves. Inequality doesn’t mean that one gender will definitely have it better than others; but in fact suggests a plurality of benefits and detriments, spread out across different genders. On a functional level, society already funnels men into roles that suit their image, which is divorced from matters in the household and childrearing. In many parts of the world, a man is often not the one who cooks, nor is he expected to be good with babies, or know how to sew on a button. In these places, a man who is able to fulfill the above is seen as unusual at best, emasculated at worst. Rather, he is expected to be the primary breadwinner and leave the domestic chores to his partner. Here lies the problem. Gender
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equality does not mean that women fulfill these “feminine” and “masculine” roles all at once, while leaving men with only the “masculine” roles. Rather, it advocates interchangeability, that we can live in a world where a woman is not considered “manly” for being a construction worker, and a man not considered “cute” for changing his baby’s diapers. Men should accept these “feminine” roles as something they can partake in as well. Similar to a man’s aversion to domestic roles, men are often afraid or unable to express their emotions and insecurities. This is reinforced in both the workplace, where men have generally
EDITORIAL TEAM Editor-in-chief Spandana Bhattacharya Managing Editor Dave Chappell Co-News Editor Chan Li Ting Co-News Editor Elaine Li Co-Opinion Editor Justin Ong Co-Opinion Editor Annie Wang Ting Fang Co-Features Editor Yip Jie Ying Co-Features Editor Nicholas Lua Co-Arts Editor David Chia Co-Arts Editor Tan Jia Hui Copy Chief Rebecka Lindeberg
DISCLAIMER: The views expressed in this publication do not necessarily reflect the views of The Octant. Questions can be directed to yncoctant@gmail.com
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OPINION
“Inequality doesn’t mean that one gender will definitely have it better than others; but in fact suggests a plurality of benefits and detriments, spread out across different genders.”
taken more leadership roles, and in our language, where phrases like “man up” and “grow a pair” ascribe courage and stability as intrinsic to men. It is no surprise that men feel trapped in these expectations of masculinity and feel ashamed of their vulnerabilities. Why is it more impactful when a man cries on film, or why is it particularly “heartwarming” when men express their feelings? Traditionally, the idea of two men getting vaguely intimate often provoked feelings of discomfort and unease, for what business did two men have in hugging or being close to each other? How come it is so acceptable when girls did the same? Male pride and the maintenance of the male image is not a natural choice, but one brought about by the propagation of masculine ideals. Such idealization is often discussed through the feminine lens, but in fact is one that all genders have to grapple with in the fight for equality. Oversimplification does us no favors. We have to acknowledge that any assumption or stereotype cast upon one gender inexplicably affects the perception of another. Assuming that a
woman cannot flourish in the sciences invariably means a man has to excel, assuming that a man has to protect a woman suggests that a woman is incapable of standing up for herself. We cannot see each stereotype in a vacuum, but acknowledge that all genders have to compromise and communicate in order for equality to arise. Statements like “a male definitely has it better in today’s world” thus come with their own weight. It incorrectly elevates the status of men on all fronts and makes gender equality seem a purely female fight. However, all of us are subject to expectations that are far beyond our control, and these expectations come with their unique set of benefits and detriments. Only when we begin to view gender inequality through a neutral lens can others be included in these conversations, only when others begin to speak up will this no longer be solely a female fight.. The views expressed here are the author’s own. The Octant welcomes all voices in the community. Email submissions to: yncoctant@gmail.com
LETTER TO THE EDITORS CHECK OUT MORE AT: 8 | MARCH 16, 2016
Send your letter to the editors (maximum word count 150) to yncoctant@gmail.com by 5pm on Friday for the chance to have it published here next week.
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