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.

Contemporary dance / ‘Should I Kill Myself or Have a Cup of Coffee?’

By: Cristyn Lloyd - Posted on: June 5, 2018 | Culture & Life

Kicking off  this month in Singapore is the M1 CONTACT Contemporary Dance Festival featuring DiverCity, a platform supporting the burgeoning local dance community. Singaporean contemporary dancer and choreographer Chiew Peishan is co-creating a bleakly named piece “Should I Kill Myself or Have a Cup of Coffee?” for the festival, inspired by Albert Camus’ theory of the absurd

Contemporary dancer and choreographer Chiew Peishan in action  Photo: Justin Koh

Tell me about the piece you are choreographing for the festival.
Within the work, we are exploring our response to the philosophy of the absurd by Albert Camus. The philosophy shares and posits that life itself is meaningless – so if we don’t choose suicide as an option, can we continue to find purpose in living a meaningless life?

How do you translate an initial idea into a performance piece?
I think for the creative process between me and our co-creators, so far we have been working with some visual images as a start. The images make us reflect upon the idea of why we are living when all of us know that we are going to die one day. We [then] start to translate and explore our bodily responses to the visual images.

I think some of our challenges are actually to question how much of an illustration of the philosophy we would like to have, as well as [seeing] how much of a creative response to the philosophy we would like to have. After we started our creation process, it made us think that to a certain extent, we are likely to focus more on our responses to the philosophy as [opposed] to illustrating or explaining what this philosophy of the absurd is about.

What is the biggest challenge of choreographing a piece?
I think it would be the translation of conceptual ideas to their physical exploration, to the physicality of the idea in performance itself. And also, for example, how to approach each choreography differently. What are the modes of presentation that I can employ to support the different creations best? For instance, for a particular work, would I only consider the use or exploration of the physical body in space, or would I also be interested to engage other mediums – for example, the use of text [or] the use of the medium of film, to support the translation of the concept?

What drew you to contemporary dance?
I’m attracted to contemporary dancing because I feel that there is more freedom of expression – it is not confined by certain traditional aesthetics. And also, [there is] more room for play, interdisciplinary-wise. So that’s something that really interests me. It makes me look beyond [to] the bigger understanding of what performance is and understanding the craft itself.

I actually enjoy most the creation process through rehearsals. It’s almost like solving a jigsaw puzzle. You have something – you may not be able to really know [how the] picture [will] arrive at the end, but the process of problem solving, the process of working things out, that excites me a lot as a choreographer.

This article was published in the June 2018 edition of Southeast Asia Globe magazine. For full access, subscribe here.