Connect with us

Arts & Culture

Under the Carpet: #metoo hopes to create a safe space for Singaporeans to talk about sexual assault & harassment

Published

6 years ago

on

If you’ve been tuned into the world news, you’d have heard about the #metoo movement popularised by actress Alyssa Milano when she took to Twitter to share her personal experience with sexual harassment following the sexual misconduct allegations on Hollywood giant Harvey Weinstein.

Thousands of people around the world started to share their stories under that hashtag, #metoo – about sexual assault, harassment, and harrowing experiences they’ve had to face in a show of solidarity with others around the world. The movement was and is still the biggest movement in the modern era of people coming together to change how society views and addresses sexual harassment and assault.

But in Asia, the #metoo conversation was short lived. Many people took to Twitter and Facebook to share their stories but the ‘hype’ didn’t last and now, there’s barely any real conversation about this. Not even in Singapore. The last time a survey was conducted on this topic was a decade ago in 2008 by AWARE.

Actress and survivor Debra Teng wants to change that. Her upcoming talk show Under the Carpet: #metoo is an 18-episode show that takes a deep dive into topics that most people find difficult to talk about. The first of the Under The Carpet series, #metoo seeks to deal with the topic of sexual harassment and assault in Singapore from the different perspectives.

But making the show wasn’t a walk in the park for Debra. She had approached the Ministry of Social & Family Development (MSF) around 2017 – after the #metoo movement took off – to do a nation-wide survey to better understand how pervasive sexual harassment was in Singapore. Unfortunately, MSF didn’t have the budget for it. She then tried to pitch the show to another media group but was turned down. Finally, she joined up with IMPIXEL. With their facilities and the help of her old filmmaking course-mates, Under the Carpet was underway.

We caught up with Debra to talk about the show and #metoo in Singapore:

The team behind Under the Carpet (Image from Debra Teng)

This is essentially a passion project, for you and for your entire team. Why is it so important to you to keep this #metoo conversation going in Singapore?

The conversation never really started here in Singapore. We had the odd article and then, silence. What we are trying to do is to get these important conversations going. And the message I hope to get across is that this is not just MSF’s problem, or Law Enforcement’s problem, or MOM’s (Ministry of Manpower) problem, or MOE’s (Ministry of Education) problem – it is OUR problem, and we need to work collaboratively together so that our children will inherit a safer world.

From talking to many people while doing this show, one of the issues that stick out is this: law enforcement, parents, figures of authorities in schools or companies need to be trained to manage these cases as the first respondent. How the victims are treated by the first respondents can make or break the victim. Too often, victims are made to feel ashamed, foolish, or disbelieved. Many go away wishing they had never made a complaint or reached out for help. And, if it should happen again, they will never speak up. We need to create an environment where sexual assault/harassment victims feel safe and protected, and know that they have every right to be respected, and that they can and should speak up to assert their rights.

You had mentioned that it was tough to find people willing to come on the show to talk about their own personal experience with sexual assault and harassment – how did you manage to find the ones who were willing to come forward?

These people who came forward are all my personal friends who also believe in the cause. Some were only willing to speak up on the condition of anonymity, some because they are parents too and want to make sure that their children will “inherit a safer world”, or will grow up to treat women right. I also reached out to AWARE Singapore who is running the only Sexual Assault Care Centre in Singapore.

What can people expect when they watch the series?

They can expect to hear some painful personal stories of survivors of sexual assault. Some might have their views challenged, some might be surprised at what men go through as sexual assault victims. I hope everybody will go away thinking “What can we do to prevent sexual assault and harassment from taking place? As a parent, have I neglected the signs that something might have been amiss? As an educator, have I taught the children that asking and giving consent is important, and respect is non-negotiable. At the workplace, what can I do to make the workplace safer for everybody? As law enforcement, what can we do to train our officers to be more sensitive, empathetic and effective at dealing with sexual assault and harassment cases?”

Behind the scenes of Under the Carpet (Image from Debra Teng)

Having experienced sexual assault yourself, it must have been tough to have to dredge all of that up again in the process of filming – how did you manage that?

My amazing team who are so passionate about this project keeps me going every day.

Personally, I had to come to a point where I feel that I am ready to walk away from my work as an actress, for I know that I may never be hired by certain people again for sharing about some of the things that I have experienced in the industry. I am also braving myself for the backlash on survivors who do speak up. For me, I just want to do something right by the next generation. As a sexual assault victim, I will tell you this, one never gets over it. It will always stay in the background of your psyche. And that is a lot to live with. It is something that should never ever happen to anybody, much less a young person for whom these scars will be deeply etched. Perhaps doing this show in the hope of preventing others from suffering what happened to me is my way of managing it.

Under the Carpet: #metoo

In a country like Singapore where Asian conservative values still prevail, topics such as sexual harassment and assault still considered taboo – people are still too uncomfortable talking about this out in the open. For the victims, there’s plenty of stigma they have to face if they come forward thanks to victim blaming and little support from the authorities – many cases go unreported.

So perhaps the time is right for a show like this. Singapore is ready.  And just maybe, if we’re united by this common cause, we can create a safer and more respectful nation for every person.

Under the Carpet: #metoo production is supported by IMPIXEL while extra footage is supported by HUAWEIMOBILESG. The media launch for the show will be hosted by the British High Commission at the High Commissioner’s Resident on 19th November.

Check out the pre-launch promo for the show here:

Related Topics:
Continue Reading
Click to comment
Subscribe
Notify of
0 Comments
Newest
Oldest Most Voted
Inline Feedbacks
View all comments

Arts & Culture

Epigram Books to close SAM bookshop amid low sales and footfall

Epigram Books will shut down its bookshop at the Singapore Art Museum on 26 January 2025, citing low sales and foot traffic. The independent bookstore, known for supporting local authors, will continue to operate its online store, but its future in brick-and-mortar retail is uncertain.

Published

4 weeks ago

on

19 September 2024

By

Epigram Books, a major supporter of Singaporean literature, will close its Epigram Coffee Bookshop at the Singapore Art Museum (SAM) on 26 January 2025.

The decision comes after years of struggling with low sales and foot traffic at the Tanjong Pagar Distripark location, marking the end of the bookstore’s three-year lease.

The announcement on 19 September follows Times Bookstores’ closure of its final outlet in Holland Road, highlighting the growing challenges faced by brick-and-mortar bookstores in Singapore.

Edmund Wee, publisher at Epigram Books, expressed disappointment, stating: “We tried everything to make this work. Over the past three years, we’ve often asked ourselves, how many people even knew our bookstore existed here, let alone visited?”

Despite efforts to boost traffic, including operating shuttles to increase accessibility, the bookstore struggled to attract visitors consistently.

Epigram Coffee Bookshop, previously located at the Urban Redevelopment Authority Centre on Maxwell Road and later in a pop-up at Beach Road, relocated to SAM in May 2022 in partnership with Balestier Market Collective.

The 20-seater store featured towering shelves showcasing local and Southeast Asian titles, including books from other independent publishers like Ethos Books and Math Paper Press.

However, the location’s industrial setting, which only saw spikes in visitors during major exhibitions like Olafur Eliasson’s, limited consistent footfall.

The closure coincides with the end of Eliasson’s exhibit on 22 September 2024. Although the exhibition provided a temporary boost to the bookshop’s sales, Epigram noted that the increased traffic was short-lived.

Epigram’s future in physical retail remains uncertain. Mr Wee indicated that high rental costs make reopening a physical store unlikely: “Unless rent prices relent, it’s unlikely we’ll move into another space.”

Epigram Books has been a significant presence in Singapore’s independent book scene, promoting local authors and holding literary events.

The bookshop was also a community hub for the literary arts, hosting numerous book launches and events supporting local writers. “These spaces are special to our literary arts community. They’re where book lovers gather, where literary events and book launches happen in support of our writers,” said Mr Wee.

Despite the closure of the SAM store, Epigram will continue to operate its online store. The publisher emphasized the need for continued support from readers: “We’ve come this far with everyone’s support, and we look forward to continued support from our readers as we transition to focus on online sales.”

Continue Reading

Arts & Culture

2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation

The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.

Published

1 month ago

on

3 September 2024

By

The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.

This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.

Diverse and Cutting-Edge Filmmakers Dominate FPP Selections

The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.

This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.

Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.

This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.

Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.

LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.

Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.

Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.

The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.

These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.

Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.

The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.

Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.

The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.

Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.

Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.

WIP Selections: A Glimpse into the Future of Cinema

The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.

Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.

Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.

Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.

Series Selections: Imagination Meets Reality

The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.

Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.

Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.

Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.

Looking Forward to the Golden Horse FPP Event

The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.

Continue Reading

Trending