Ahh... Nothing quite like summoning the storms with your pod. ⚡😂
Look at how amazing everyone looks! Not pictured behind us: hordes of sinking ships, sailors being sung to their doom on the rocks...
SO psyched to see the Syrena's Song notifications starting to go out... I'm so incredibly excited to see all of you in your epic pinky purple glory! ✨💕
📸: @thejoshfather
🧜🏻♀️: @finfolkproductions Syrena's Song with @mermaidkariel fins
🧜🏽♂️🧜🏽♀️🧜🏻♀️🧜♀️: beautiful @merbabe_teresa @deszie_nereus @hikittykitty @heymrsmermaid
👸🏻: Teresa wears a self creation and I'm wearing @wunderland_arts
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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summoning the self 在 Xiaxue Facebook 的最佳貼文
Another great response to Shrey Bhargava's self righteous pity party. Every minority is invited to join! Come, let's blame the majority race for everything that's wrong in our lives, it is never our fault, it is because we are oppressed! Wow, so convenient!
Shrey has written another post boohooing about how racism (yawn), how minorities don't get roles easily in singapore, and how the Chinese are blind because we have privileged.
Cut your crap. If a Chinese director wants to make a movie about Chinese NS men, that's his fucking prerogative. If it features Indians or Malays as token characters, that's also his freedom and right. Why? You think every local movie needs to have an Indian main character then it's not considered racist is it?
In that case I ask... why are Bollywood movies full of only Indians? Why aren't one of the leads in 3 Idiots any race other than Indian?!!! Such an atrocity and blatant racism. Sure, Bollywood shows are in Tamil, but hey I don't care, this is as racist as The Voice asking for Chinese speakers! I don't care, include a Chinese mute character please, and he must not be a token role! Otherwise the director is racist! 🙄
Obviously like Donovan said there are privileges to being a majority race, a majority anything. That much is undeniable. While the Chinese in singapore should be mindful of consideration for all the other ethnic groups and always be respectful, but the automatic assumption that jobs be not only handed to you, but CREATED FOR you purely for the sake of your race isn't one of them.
Singapore is built on meritocracy.
Keep up your self victimizing charade and keep blaming society for your failures in life - you will find that soon nobody respects you.
And unlike the white liberals who have been indoctrinated with white guilt since their school days and think they have to pay for their ancestors' crime, you will find Singaporeans way less susceptible to your guilt tripping. Asians, including Indians and Chinese alike, don't subscribe to victim-playing. We work hard and succeed despite the odds - I suggest you get on with the program. Nobody owes you or your race a level playing field. Your whining rings hollow, since you exist in one of the most racially harmonious countries in the world, where the govt has taken careful steps to ensure equality for all the 4 main races.
Dear Shrey Bhargava,
As far as I can tell from your post, there was nothing racist about your Ah Boys to Men audition and I'll be kind enough to tell you and the 3000-odd people whom have shared your post why.
You were tasked to perform the role of a 'full blown Indian' and you have interpreted that as having to 'portray a caricature of my race' and being 'reduced to my accent'.
The casters were not racist and the element of racism here is non-existent because that was the role that is being demanded of you here, whether it was that of a Singaporean Indian, North Indian, British Indian or Red Indian.
Suppose Samuel L. Jackson had tried to audition for the role of Jack Dawson in Titanic, a part that really went to Leonardo DiCaprio. It is obvious that he would have been turned down because he was black. Now, is this not a clear-cut case of racial discrimination? Surely no one (maybe except that crazy Sangeetha) would be absurd enough to claim that the directors or scriptwriters of Titanic were racist and had "reduced" Jackson down to his skin colour?
That is because the role of Jack Dawson (may he rest in peace at the bottom of the Atlantic) is one of a white man.
Why is it somehow more 'wrong' for you to portray the role of a stereotypical Indian from India, than for Wang Wei Liang to portray the stereotypical Chinese gangster, or for Maxi Lim to portray the role of a stereotypical bootlicking yes-man recruit, or for Tosh Zhang to portray a stereotypical authoritative army Sergeant?
If Wang Wei Liang were to drop out of the Lobang King role right now and I be in line to audition for the role, I'd be similarly asked by the casting director to play the role of a 'full blown ah beng'.
That would mean me summoning out to the best of my abilities the most vicious, stereotypical characteristics of a Chinese 'ah beng'. I'd have to speak in subpar broken English, exercise a liberal use of dialect profanities and demonstrate an aptitude for violence in the face of problems.
I have no doubt in my mind that a lot of the ones whom are throwing support behind you right now would not similarly rally and call to arms in the same righteous manner for me because I had to depict a caricature of the stereotypical Chinese hooligan.
Yet what is the difference? Certainly not all Chinese 'ah bengs' are characterised with the same rebellious, malingering characteristics like that of Wang Wei Liang's character. I have done my National Service alongside some of them (in a god-forsaken rifleman unit no less), and most of them in fact are some of the most patriotic men I have ever seen.
Why is a racial stereotype anymore of a grievous injustice than the stereotype of an occupation, a cultural identity or any other form of stereotype? It is not.
If your objection is with being pigeonholed into a simplified, hackneyed image of a particular person, then you must similarly condemn all forms of stereotypes in film - not just stereotypes that are played along racial lines. And it is unnecessary for me to point out that stereotypes in the arts are ubiquitous in any and all forms.
In your follow-up post, you ramp up your distinct brand of illogic. You claim that it is wrong for the minority character to be of insignificance because this is a film that is a "SINGAPOREAN story".
But this begs the question. What defines being 'Singaporean'? Given that 40% of our population are comprised of foreigners and non-residents, isn't it just as wrong that these Filipinos, Indonesians, Japanese and Koreans are utterly unrepresented in Ah Boys to Men? Is it fair to stick to the 'Chinese, Malay, Indian' categorisation that in the first place, is a categorisation formulated on arbitrary standards by our government?
Is there any reason why your standard of what is 'Singaporean' should take priority over mine, or over the casting director's?
Yes, actors need jobs and it is certainly true that a racial minority would not enjoy the luxury of roles to pick from in comparison to one in the racial majority. But it is not clear WHY this is unfair, which is what you seem to me implying by "Minority actors do not have the privilege to pick and choose what to audition for".
Of course majorities benefit. The same can be said for people whom are right-handed, whom are tall, whom are lucky enough to be born with our five senses. When you lament that "Minority actors do not have the privilege to pick and choose what to audition for", you are no longer making an argument against racism, rather, you are making an argument against reality i.e., the racial proportion of our population.
I have observed this for some time among the young Singaporeans who are most active on social media. One of the most troubling cultural trends as of late is this idiotic penchant to leap at every slightest opportunity they get to call out racism, from the Toggle blackface issue and the Kiss92 incident to a Smartlocal video from last year.
Of course racism exists in Singapore (or anywhere else in the world for that matter), but reducing any and all issues down to race is not very helpful. There are far more productive ways to tackle discrimination. And that begins with changing the institutional framework of our society, such as the freedom of our press and media, so racial minorities are empowered to best represent their own unique cultures. Nit-picking on little details in the media is not one of them.
Like the Nobel Laureate Milton Friedman said: “One of the great mistakes is to judge policies and programs by their intentions rather than their results.” I commend your well-intentioned attempt to speak out against what you have perceived is 'racism', but your analysis is incorrect and your methods are in fact entirely retrogressive.
P.S. It was quite interesting to see how that Vimeo video on your wall provided a most comical caricature of Arabs being equated with bombs/terrorism. It appears that it is just your own racial identity that is most fragile, and that the rest of us must tread precariously around. I wonder if it was only I who cringed so hard?
summoning the self 在 Chelsia Ng Facebook 的最讚貼文
Michael Aris proposed to Aung San Suu Kyi in Bhutan~ Enjoy reading the untold love story. Good weekend~ L
...........................
The Untold Love Story of Burma's Aung San Suu Kyi
Aung San Suu Kyi, whose story is told in a new film, went from devoted Oxford housewife to champion of Burmese democracy -- but not without great personal sacrifice.
By Rebecca Frayn
When I began to research a screenplay about Aung San Suu Kyi four years ago, I wasn’t expecting to uncover one of the great love stories of our time. Yet what emerged was a tale so romantic -- and yet so heartbreaking -- it sounded more like a pitch for a Hollywood weepie: an exquisitely beautiful but reserved girl from the East meets a handsome and passionate young man from the West.
For Michael Aris the story is a coup de foudre, and he eventually proposes to Suu amid the snow-capped mountains of Bhutan, where he has been employed as tutor to its royal family. For the next 16 years, she becomes his devoted wife and a mother-of-two, until quite by chance she gets caught up in politics on a short trip to Burma, and never comes home.
Tragically, after 10 years of campaigning to try to keep his wife safe, Michael dies of cancer without ever being allowed to say goodbye.
I also discovered that the reason no one was aware of this story was because Dr Michael Aris had gone to great lengths to keep Suu’s family out of the public eye. It is only because their sons are now adults -- and Michael is dead -- that their friends and family feel the time has come to speak openly, and with great pride, about the unsung role he played.
The daughter of a great Burmese hero, General Aung San, who was assassinated when she was only two, Suu was raised with a strong sense of her father’s unfinished legacy. In 1964 she was sent by her diplomat mother to study Politics, Philosophy and Economics at Oxford, where her guardian, Lord Gore-Booth, introduced her to Michael. He was studying history at Durham but had always had a passion for Bhutan – and in Suu he found the romantic embodiment of his great love for the East. But when she accepted his proposal, she struck a deal: if her country should ever need her, she would have to go. And Michael readily agreed.
For the next 16 years, Suu Kyi was to sublimate her extraordinary strength of character and become the perfect housewife. When their two sons, Alexander and Kim, were born she became a doting mother too, noted for her punctiliously well-organised children’s parties and exquisite cooking. Much to the despair of her more feminist friends, she even insisted on ironing her husband’s socks and cleaning the house herself.
Then one quiet evening in 1988, when her sons were 12 and 14, as she and Michael sat reading in Oxford, they were interrupted by a phone call to say Suu’s mother had had a stroke.
She at once flew to Rangoon for what she thought would be a matter of weeks, only to find a city in turmoil. A series of violent confrontations with the military had brought the country to a standstill, and when she moved into Rangoon Hospital to care for her mother, she found the wards crowded with injured and dying students. Since public meetings were forbidden, the hospital had become the centre-point of a leaderless revolution, and word that the great General’s daughter had arrived spread like wildfire.
When a delegation of academics asked Suu to head a movement for democracy, she tentatively agreed, thinking that once an election had been held she would be free to return to Oxford again. Only two months earlier she had been a devoted housewife; now she found herself spearheading a mass uprising against a barbaric regime.
In England, Michael could only anxiously monitor the news as Suu toured Burma, her popularity soaring, while the military harassed her every step and arrested and tortured many of her party members. He was haunted by the fear that she might be assassinated like her father. And when in 1989 she was placed under house arrest, his only comfort was that it at least might help keep her safe.
Michael now reciprocated all those years Suu had devoted to him with a remarkable selflessness of his own, embarking on a high-level campaign to establish her as an international icon that the military would never dare harm. But he was careful to keep his work inconspicuous, because once she emerged as the leader of a new democracy movement, the military seized upon the fact that she was married to a foreigner as a basis for a series of savage -- and often sexually crude -- slanders in the Burmese press.
For the next five years, as her boys were growing into young men, Suu was to remain under house arrest and kept in isolation. She sustained herself by learning how to meditate, reading widely on Buddhism and studying the writings of Mandela and Gandhi.
Michael was allowed only two visits during that period. Yet this was a very particular kind of imprisonment, since at any time Suu could have asked to be driven to the airport and flown back to her family.
But neither of them ever contemplated her doing such a thing. In fact, as a historian, even as Michael agonised and continued to pressurise politicians behind the scenes, he was aware she was part of history in the making. He kept on display the book she had been reading when she received the phone call summoning her to Burma. He decorated the walls with the certificates of the many prizes she had by now won, including the 1991 Nobel Peace Prize. And above his bed he hung a huge photograph of her.
Inevitably, during the long periods when no communication was possible, he would fear Suu might be dead, and it was only the odd report from passers-by who heard the sound of her piano-playing drifting from the house that brought him peace of mind. But when the south-east Asian humidity eventually destroyed the piano, even this fragile reassurance was lost to him.
Then, in 1995, Michael quite unexpectedly received a phone call from Suu. She was ringing from the British embassy, she said. She was free again! Michael and the boys were granted visas and flew to Burma.
When Suu saw Kim, her younger son, she was astonished to see he had grown into a young man. She admitted she might have passed him in the street. But Suu had become a fully politicised woman whose years of isolation had given her a hardened resolve, and she was determined to remain in her country, even if the cost was further separation from her family.
The journalist Fergal Keane, who has met Suu several times, describes her as having a core of steel.
It was the sheer resilience of her moral courage that filled me with awe as I wrote my screenplay for The Lady. The first question many women ask when they hear Suu’s story is how she could have left her children. Kim has said simply: “She did what she had to do.” Suu Kyi herself refuses to be drawn on the subject, though she has conceded that her darkest hours were when “I feared the boys might be needing me”.
That 1995 visit was the last time Michael and Suu were ever allowed to see one another. Three years later, he learnt he had terminal cancer. He called Suu to break the bad news and immediately applied for a visa so that he could say goodbye in person. When his application was rejected, he made over 30 more as his strength rapidly dwindled. A number of eminent figures -- among them the Pope and President Clinton -- wrote letters of appeal, but all in vain. Finally, a military official came to see Suu. Of course she could say goodbye, he said, but to do so she would have to return to Oxford.
The implicit choice that had haunted her throughout those 10 years of marital separation had now become an explicit ultimatum: your country or your family. She was distraught. If she left Burma, they both knew it would mean permanent exile -- that everything they had jointly fought for would have been for nothing. Suu would call Michael from the British embassy when she could, and he was adamant that she was not even to consider it.
When I met Michael’s twin brother, Anthony, he told me something he said he had never told anyone before. He said that once Suu realised she would never see Michael again, she put on a dress of his favourite colour, tied a rose in her hair, and went to the British embassy, where she recorded a farewell film for him in which she told him that his love for her had been her mainstay. The film was smuggled out, only to arrive two days after Michael died.
For many years, as Burma’s human rights record deteriorated, it seemed the Aris family’s great self-sacrifice might have been in vain. Yet in recent weeks the military have finally announced their desire for political change. And Suu’s 22-year vigil means she is uniquely positioned to facilitate such a transition -- if and when it comes -- exactly as Mandela did so successfully for South Africa.
As they always believed it would, Suu and Michael’s dream of democracy may yet become a reality.
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