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
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To understand more about why you are so important to our member support 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.

Visual art / UK-based artist brings her vibrant spin on pop-art to Siem Reap

By: Thomas Brent - Posted on: March 22, 2018 | Cambodia

UK-based visual artist Grande Dame will descend on Siem Reap where she will host a month-long exhibition showcasing her psychedelic projections and pop-art style prints

Grande Dame is visiting Cambodia for the first time and is positive that the trip will leave a lasting impression Photo: Nathan Thomas Jones

Grande Dame, a versatile artist originally from the US, has previously had work commissioned by MTV and Facebook, created a phone application which topped the App Store for a week and produced a couture shoe line in collaboration with renowned designer Terry de Havilland.

The exhibition, titled Electric Crazyland, will show at One Eleven Gallery starting on 28 March. Here, Grande Dame talks about her new-found love of old Cambodian rock and roll, her transition from music to art and her kindred spirit.

Welcome to Cambodia. How did this trip come about?
My best friend Kirsten and I have our birthdays six days apart. We came to magical Cambodia for a special treat – a trip that we will treasure for a lifetime!

It is a bit of a change of scenery from the south coast of England, but Cambodia has a rich history and a culture full of visual imagery. Do you think your time here will inspire future works?
I’m sure it will! I made sure to watch lots of documentaries about Cambodian culture. I had no idea about the rock and roll scene here in the 50s, 60s and early 70s. I was really blown away by the sound and style. And of course, I am looking forward to the temple tours. I am sure that will leave a visual imprint on my mind.

What do you think the Cambodian audience will make of your work?
I hope they like it! I am lucky, I think because my colours are so intense and different, people who don’t normally appreciate art seem to respond positively to it. Colour is healing, it lifts you up.

You are a very versatile artist – music, ceramics, embroidery, prints, animations, shoes…how do you keep on top of it all?
I don’t – ha! To be honest it’s been ages since I’ve properly done music. I did one track for my animated short on Carson McCullers titled “A Star Named Carson”, but that was the first piece of music in eight years.

It’s been a while since I’ve done any ceramics or shoes as well. Prints are relatively easy for me, as I have my own printer. And embroidery I can do in bed, if it’s by hand. I like to keep busy. My mother always said “Keeping busy is the key to happiness” and it’s true.

You recently finished an animation short on the life of Carson McCullers, along with a graphic novel. Why did you choose to take on this project?
I grew up in the same town as Carson – Columbus, Georgia. My mother was the librarian at the local university. The Ballad of the Sad Cafe was my first “grown up” book I read, I think I was 12-years old. I was so enthralled by it, that immediately after I finished it, she brought home Virginia Carr’s biography on her. As soon as I read the first page, I knew she was a kindred spirit. She was a rebel and an outsider, much like the protagonists in her book. She never compromised – whether it be her art or fashion sense – no matter what.

It was quite bold to be such an individual and female in the deep south in the depression era. Reading about her life gave a young me a lifeline. I thought “she survived growing up here and went on to be friends with Dali, Tennessee Williams, and Marilyn Monroe. She left this small town and went on to achieve her dreams as an artist – you can too!”

Do you have different methods of finding inspiration for each branch of your creativity?
Yes! There is no method to my creativity! I definitely can see something and say “wow! I have to draw that!” I did a tour around the Mayan pyramids a few years back with my best friend (who I’m here with) which inspired the Mothership Connection prints. I am sure I will produce some images from this trip too!

Mothership Connection

You are mostly self-taught. Do you feel that allows you to be more original as you are not directly following other people’s advice?
I think it’s helped me stand out for sure. I’ve never been good with traditional type learning, my brain is wired differently. I never could concentrate in school, was always distracted. An art teacher would probably tell students that you’re not supposed to use the colours that I use – especially for animation. And a lot of times, you end up being influenced by the teacher’s style and taste. Teaching myself has helped me stand out as I have my own original style and colour palette. But it’s also been harder, as I have had to figure out how the business works on my own, with no guidance from a teacher.

You moved to the UK to pursue music, and your art and design career was something of an accident. Even if it was unexpected, has it been an enjoyable experience?
OMG – YES! I always dreamed of being a rock star as a child. My father made me sing and do cha cha lessons everyday. I thought music was my destiny. But after being in the business for a while, watching the industry pretty much dissolve, the art career has been a happy accident. I came to the UK in 2001 as I got signed to a record label – Tummy Touch – under my old moniker Crazy Girl. They didn’t have the budget to do the types of videos I wanted to make, so I began to teach myself animation. My first video, “High Tide Hell”, ended up getting in several film festivals, and it kind of took off from there. When I would make a video, I would take a still and send out a mass email with the still image linking to the animation. This was before Youtube or social networking sites. For years people would say “if you print that I will buy it.” So in 2010, I made my first giclee prints from my video The Shakes. That’s kind of my process – all my prints come from the animations.

You have achieved a lot in your career as a musician and an artist, but what would you say you are proudest of?
As the Carson project is my latest work, definitely that! An artist is always proud of their most recent work! Soon I will move on to the next project. I’m also quite proud of my Giphy page! By next week I should pass 100 Million views of my GIFs! Woo!

Hairy Heads
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