The Globe as you know it is changing.
Coming June 2019

  • More thought-provoking stories that inspire
  • Independent, free and member-supported
  • Vote for, pitch and commission stories
  • Member engagement with our journalists

To understand more about why you are so important to our member-supported initiative, we encourage you to read the following from our managing editor ~ Read more

The Globe as you know it is changing.

Since 2007, Southeast Asia Globe has been a space for some of the region’s best writers and photographers to take our readers behind the headlines into the stories that shape people’s lives. Every month, you could expect to pick up our latest print edition and find high-quality journalism, analysis and artwork waiting on every page. And since 2007, we’ve fought to uphold our promise of quality and independence to you, our readers.

But, like we said, the world is changing. Print publications just aren’t reaching the audiences they need to fulfil their promise of informing, educating and entertaining the public. Advertisers continue to invest in digital platforms while printing costs creep ever higher. Print may not be dead, but it’s fighting for its life. And we’re tired of waiting by a sickbed for its condition to improve. We want to be present at the birth of something new.

That’s why Southeast Asia Globe is relaunching as a member-driven platform featuring daily long-form features combining world-class journalism with enthralling art design and data-centered tech. Through our core pillars – Power, Money, Life and Earth – we are focusing in on the central issues that our readers have always engaged with most, with the same in-depth coverage of politics, business, social affairs and the environment that you’ve come to expect since 2007.

But leaving print behind us doesn’t just save our backs from lugging stacks of magazines across Southeast Asia. It opens up a global readership who don’t just want to read the news, but have a say in the stories that we tell and the way that we tell them. We’re not asking you to take out another magazine subscription – our stories are open to all. What we’re offering our members is a space where they can pitch and vote on the stories that they think deserve to be told. We want to inspire an engaged and active community of members who vote for, comment on and contribute to the stories that matter most to them. We want to work with our members to curate the way they engage with the news – not just as readers, but as an active extension of our editorial team.

That’s how we’re changing to bring you great stories. Here’s how we’re not.

We’re independent. Always have been, always will be. We’re not owned by any corporation or aligned with any state. We choose the stories that we tell, and the way that we tell them.

We’re creative. We’re not interested in churning out breaking news stories on the hour, every hour. We believe that the best stories are the ones that come alive on the page, digging deeper into the issues that shape Southeast Asia – and bringing you along for the ride. From our dedicated designers to our new software development team, our commitment is to constantly challenge ourselves to find new ways of reaching out to our readers.

We’re open. Challenging governments, NGOs and businesses to be transparent with the public means nothing if we keep our own readers in the dark. That’s why we will be completely open about why we tell the stories that we tell – and how we pay for them. Work with us to build something that endures where many media fail, and decide with us exactly where that money is going.

Above all, we’re optimistic. And yeah, we know what you’re thinking. Faced with impending climate collapse, the rise of right-wing authoritarian governments across the world, widening wealth and income inequality and deepening divisions rooted in race or gender or creed, it’s hard not to open the papers and feel the weight of the world pressing down. But we wouldn’t be doing this if we didn’t believe that when people work together, they can make their little corner of the world a more just, open and equal place.

And that’s why we can’t do this without you. We believe that across the globe is a community of people who care deeply about social justice, environmental action and press freedom – and who will join in to help make those ideals a reality. We’re not just holding our hand out – we need your voice to play a vital role in building Southeast Asia Globe into a leading space for progressive causes in the region. Tell us what stories the mainstream media is missing. Share with us the causes that matter most to you, and how we can champion those causes not just across Southeast Asia, but the world.

Our vision is clear. By 2025, we want to be recognised for building a great space for outstanding journalists from across the region to explore new ways of telling Southeast Asia’s most vital stories. Let’s bring together a community of engaged and loyal members who want to help reshape the media rather than just read it. And we want to reach a point where our readers, not advertisers, are the ones working to support our shared vision of an inclusive media.

We can’t do this without you. Let’s get together and build something that we all believe in.

If you’re interested in joining us, sign up to our newsletter, like us on Facebook, follow us on Twitter. And watch this space.

Malaysia / How one artist is exploring his roots through vibrant, surreal artworks

Posted on: March 15, 2018 | Culture & Life

Hasanul Isyraf Idris is a Malaysian artist who works with a variety of different materials to present his often intricate and surreal ideas, inspired by his home country’s colourful history

Hasanul Isyraf Idris was trained at Mara University of Technology, in Perak, Malaysia

Hasanul Isyraf Idris’s fourth solo feature with Richard Koh Fine Art took place last week, showing at VOLTA art fair, New York. Titled Environment of Naga and Doubt, it is a continuation of his series Higher Order Love, which began in 2016. It depicts stories and memories of Malaysia’s past, including the racial riots which took place in Palau Pangkor in 1959. He talks about love, his childhood and the Malaysian art scene.


Your series is titled Higher Order Love. In the latest feature it deals with topics like racial riots, migration and alienation. How do these topics fit under the umbrella of a higher love? Do you think love can be found even in difficult times or places?
I feel that love is at its strongest once it is tested. I witnessed this through my parents’ experience of survival on a fisherman’s island with four children, [my dad] crossing the ocean to the mainland to secure for us a better life. For me the bond and survival is a symbol of his unparalleled love.

Your work draws a lot on Malaysia, your childhood there and the culture of the country. Does that inspire you?
The issues that I brought forward are a repeat of history. Stories, memories and the past become my subjects of interest in my creative practice. I also reflect on current global issues from my own personal angle and perspective.

You present your work in many different forms, sometimes on paper, sometimes in mixed multi-media drawings. What is the reason for this variation?
I am actually one that gets bored easily. I love trying out various styles, shapes and forms in the making of my artwork. I am not prejudiced against any types of material. I see the variety as my way of responding to my environment.

Your work combines beauty and ugliness. Is that a representation on how you see the world?
As the yin and yang philosophy goes, we live side-by-side, the good and bad. It is manifested in our taste and choices. Plato described the queasy fascination towards an executioner’s dais. Similarly, we cannot peel our eyes off accidents and atrocities.

How did you first get into art and what inspired you to start creating works of art?
I was exposed to the arts when I was about 12 years old. My older brother is a painter and brought me along to visit his artist friends at their studios. Amron Omar was then (and still) a celebrated Malaysian figurative painter. He also brought me to the local art college and it was then that I discovered formal art training and the education available in college.

What are your thoughts on the art scene in Malaysia?
Art in Malaysia is still considered young in terms of infrastructure, benefits, facilities and others. There are efforts being made in advancing those aspects. I consider the deficiency as a minor issue when handled strategically with much rigour.

Hasanul Isyraf Idris - Jalebi Blockades
Watercolor, ink and color pencil on paper Photo: Richard Koh Fine Art and the Artist
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