Podcasts about Hokkien

If you grew up in Johor, Penang, or Singapore, you might have seen or been a part of the Chingay Parade, a century-old annual event where devotees carry palanquins housing deities from the main Chinese clans of the Hokkien, Cantonese, Hainan, Hakka, and Teochew. Johoreans, in particular, might remember this event as a vital part of Chinese New Year festivities since 1870. What makes this festival unique is that while it began as a Chinese community event, it has grown to attract Malays and Indians, becoming an intercultural success. We delve into the history and significance of Chingay with Rayner Tan, vice chairman of the Johor Old Ancient Temple, which is part of the Chingay parade.Image credit: 柔佛古庙游神 Johor Chingay FacebookSee omnystudio.com/listener for privacy information.

Pai Tee Kong is a celebration of the Jade Emperor's birthday. Significantly, this falls on the ninth day of the Chinese Lunar New Year, a date so momentous for the Hokkien Chinese that they claim it as the “proper” start to their New Year. Offerings of food and incense are laid out on a makeshift altar made up of two tiers of red benches - the lower for roasted meats, while the upper level, symbolising the elevated status of heaven, consists of vegetarian dishes to be consumed by the deity also known as the God of Heaven (Pai Tee Kong is Hokkien for “Worshipping the God of Heaven”). Additionally, two stalks of sugar cane are tied to each end of the altar. Hokkien Chinese believe this was the day that the Jade Emperor saved their descendants from death in the Fujian province of China. Located along the coast of the South China Sea, their villages were subject to regular attacks by pirates back in the 16th Century. In one particularly vicious raid, the villagers were forced to flee into the sugarcane forests, where they waited and prayed for God's help to save them. When it was finally safe to leave, the villagers realised it coincided with the birthday of the Jade Emperor. And so the legend goes.

There's so much more to say about Singlish after last episode that we're saying some more of it this episode. Poet and academic Gwee Li Sui, author of Spiaking Singlish: A Companion to how Singaporeans Communicate, describes the resistance he received in Singapore when he published Singlish translations of literary works - and why they are important and celebratory for Singlish. And Stacey Mei Yan Fong, baker and author of 50 Pies, 50 States, explains how the language that used to be embarrassing for her is now a huge comfort. Find out more about the episode and read the transcript at theallusionist.org/singlishsinglish. And listen to the previous episode about Singlish at theallusionist.org/singlish. To help fund this independent podcast, take yourself to theallusionist.org/donate and become a member of the Allusioverse. You get regular livestreams with me and my collection of reference books, inside scoops into the making of this show, and watchalong parties - we're enjoying Merchant Ivory films, the current seasons of Great British Bake Off and the Canadian version, and Taskmaster featuring my brother Andy. Coming up, we've got What We Do In The Shadows, Pride & Prejudice, and Carol! And best of all, you get to bask in the company of your fellow Allusionauts in our delightful Discord community.  This episode was produced by me, Helen Zaltzman, with music and editorial assistance from Martin Austwick of palebirdmusic.com. Thanks to Y-Lynn Ong. Find @allusionistshow on Instagram, Facebook, YouTube, Xitter, Threads, Bluesky, TikTok,  etc. Our ad partner is Multitude. If you want me to talk about your product or thing on the show, sponsor an episode: contact Multitude at multitude.productions/ads. This episode is sponsored by: • Rocket Money, the personal finance app that helps find and cancel your unwanted subscriptions and monitors your spending. Go to rocketmoney.com/allusionist to save money and lower your outgoings.• Home Chef, meal kits that fit your needs. For a limited time, Home Chef is offering Allusionist listeners eighteen free meals, plus free shipping on your first box, and free dessert for life, at HomeChef.com/allusionist.• Squarespace, your one-stop shop for building and running your online bailiwick. Go to squarespace.com/allusionist for a free 2-week trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Constant Wonder, the podcast that opens our eyes and ears to the nature around us and its, yes, constant wonders. Listen to Constant Wonder in your usual podcast-listening places.Support the show: http://patreon.com/allusionistSee omnystudio.com/listener for privacy information.

Part 4 continues with the aftermath of the 1824 Treaty of London. John Crawfurd takes over from a disgraced William Farquhar as First Resident. Singapore commences its never-ending building and infrastructure process. The Straits Settlements are created in 1826. With a spike in labor demand and with slavery recently abolished, the East India Company comes up with a novel solution. Up in Johor, Daing Ibrahim takes over as the new Temenggong and becomes a ruler that the East India Company can work with. The majority Teochew and Hokkien communities start to organize around their own community leaders. Gutta-Percha is discovered and for the first time Singapore gets to surf a nice wave of prosperity as this raw material's discovery coincides with a massive demand from a new technological innovation. Alongside all this growth in commerce emerges several secret societies who, like their overseas counterparts, provide a mixture of good and evil across Chinese society. Tin is discovered in 1848 in Perak State. Singapore gets a piece of this action as well. With the EIC's fortunes sinking, Singapore's leaders start to lobby Parliament in London for Crown Colony status and to scrape the despised East India Company management from the bottom of their shoe. Communal strife starts to break out with regularity. This will continue in various forms all the way into the 20th century. We close things out by presenting the life and career of William A. Pickering, an extraordinary person in his day.  I invite you to support me and my work by subscribing to my Patreon Page at https://www.patreon.com/c/TheChinaHistoryPodcast You'll get all these episodes long before they're released to the podcasting public. I also produce occasional bonus content. I don't post too much to social media. But I am extremely active chit-chatting with Patreon members and CHP friends of the show all day and night on the Patreon site, on WeChat, WhatsApp, email, Signal, and a bunch of other platforms. Thanks for considering. Learn more about your ad choices. Visit megaphone.fm/adchoices

Part 4 continues with the aftermath of the 1824 Treaty of London. John Crawfurd takes over from a disgraced William Farquhar as First Resident. Singapore commences its never-ending building and infrastructure process. The Straits Settlements are created in 1826. With a spike in labor demand and with slavery recently abolished, the East India Company comes up with a novel solution. Up in Johor, Daing Ibrahim takes over as the new Temenggong and becomes a ruler that the East India Company can work with. The majority Teochew and Hokkien communities start to organize around their own community leaders. Gutta-Percha is discovered and for the first time Singapore gets to surf a nice wave of prosperity as this raw material's discovery coincides with a massive demand from a new technological innovation. Alongside all this growth in commerce emerges several secret societies who, like their overseas counterparts, provide a mixture of good and evil across Chinese society. Tin is discovered in 1848 in Perak State. Singapore gets a piece of this action as well. With the EIC's fortunes sinking, Singapore's leaders start to lobby Parliament in London for Crown Colony status and to scrape the despised East India Company management from the bottom of their shoe. Communal strife starts to break out with regularity. This will continue in various forms all the way into the 20th century. We close things out by presenting the life and career of William A. Pickering, an extraordinary person in his day.  I invite you to support me and my work by subscribing to my Patreon Page at https://www.patreon.com/c/TheChinaHistoryPodcast You'll get all these episodes long before they're released to the podcasting public. I also produce occasional bonus content. I don't post too much to social media. But I am extremely active chit-chatting with Patreon members and CHP friends of the show all day and night on the Patreon site, on WeChat, WhatsApp, email, Signal, and a bunch of other platforms. Thanks for considering. Learn more about your ad choices. Visit megaphone.fm/adchoices

Part 4 continues with the aftermath of the 1824 Treaty of London. John Crawfurd takes over from a disgraced William Farquhar as First Resident. Singapore commences its never-ending building and infrastructure process. The Straits Settlements are created in 1826. With a spike in labor demand and with slavery recently abolished, the East India Company comes up with a novel solution. Up in Johor, Daing Ibrahim takes over as the new Temenggong and becomes a ruler that the East India Company can work with. The majority Teochew and Hokkien communities start to organize around their own community leaders. Gutta-Percha is discovered and for the first time Singapore gets to surf a nice wave of prosperity as this raw material's discovery coincides with a massive demand from a new technological innovation. Alongside all this growth in commerce emerges several secret societies who, like their overseas counterparts, provide a mixture of good and evil across Chinese society. Tin is discovered in 1848 in Perak State. Singapore gets a piece of this action as well. With the EIC's fortunes sinking, Singapore's leaders start to lobby Parliament in London for Crown Colony status and to scrape the despised East India Company management from the bottom of their shoe. Communal strife starts to break out with regularity. This will continue in various forms all the way into the 20th century. We close things out by presenting the life and career of William A. Pickering, an extraordinary person in his day.  I invite you to support me and my work by subscribing to my Patreon Page at https://www.patreon.com/c/TheChinaHistoryPodcast You'll get all these episodes long before they're released to the podcasting public. I also produce occasional bonus content. I don't post too much to social media. But I am extremely active chit-chatting with Patreon members and CHP friends of the show all day and night on the Patreon site, on WeChat, WhatsApp, email, Signal, and a bunch of other platforms. Thanks for considering. Learn more about your ad choices. Visit megaphone.fm/adchoices

Part 4 continues with the aftermath of the 1824 Treaty of London. John Crawfurd takes over from a disgraced William Farquhar as First Resident. Singapore commences its never-ending building and infrastructure process. The Straits Settlements are created in 1826. With a spike in labor demand and with slavery recently abolished, the East India Company comes up with a novel solution. Up in Johor, Daing Ibrahim takes over as the new Temenggong and becomes a ruler that the East India Company can work with. The majority Teochew and Hokkien communities start to organize around their own community leaders. Gutta-Percha is discovered and for the first time Singapore gets to surf a nice wave of prosperity as this raw material's discovery coincides with a massive demand from a new technological innovation. Alongside all this growth in commerce emerges several secret societies who, like their overseas counterparts, provide a mixture of good and evil across Chinese society. Tin is discovered in 1848 in Perak State. Singapore gets a piece of this action as well. With the EIC's fortunes sinking, Singapore's leaders start to lobby Parliament in London for Crown Colony status and to scrape the despised East India Company management from the bottom of their shoe. Communal strife starts to break out with regularity. This will continue in various forms all the way into the 20th century. We close things out by presenting the life and career of William A. Pickering, an extraordinary person in his day.  I invite you to support me and my work by subscribing to my Patreon Page at https://www.patreon.com/c/TheChinaHistoryPodcast You'll get all these episodes long before they're released to the podcasting public. I also produce occasional bonus content. I don't post too much to social media. But I am extremely active chit-chatting with Patreon members and CHP friends of the show all day and night on the Patreon site, on WeChat, WhatsApp, email, Signal, and a bunch of other platforms. Thanks for considering. Learn more about your ad choices. Visit megaphone.fm/adchoices

Daniel Limantara is the CEO and Founder of Neo Historia Indonesia, a dynamic platform dedicated to revitalizing the way history is taught and appreciated. With a strong passion for making historical knowledge accessible and engaging, Daniel led his team to create content that resonates with a wide audience, effectively blending educational rigor with modern storytelling techniques. Daniel's commitment to education and history not only enlightens but also inspires a new generation to dig deeper into their heritage. Timestamp:00.00 — Can you easily identify the different types of Chinese people? Discussing the diversity of Chinese Southeast Asian and the Chinese language06:22 — Did your parents teach you Hokkien/Teochew?11:19 — How is the writing system of Hokkien, Teochew and the other dialects? What's your Chinese name?14:12 — What generation Chinese Indonesian are you? Cina Totok vs. Cina Peranakan17:18 — How did we get here? Brief history of Chinese in Indonesia28:25  — "Balik sana ke Cina!"32:39 — Racial segregation between Chinese Indonesians and Non-Chinese-Indonesians.36:43 — Chinese Indonesians are also racist towards each other.38:33 — Chinese Indonesian Stereotypes46:51 – Unpacking Chinese Indonesian generational traumaContinue to VIP:50:15 — 1998 and the most harmful stereotype about Chinese Indonesians55:22 — Where are we (Chinese-Indonesian) are trying to go? Did your parents allow you to hangout with non-Chindos?01:01:35 — Can Chinese-Indonesian talk about politics? Discussing Chinese-Indonesian in politics and the after effects of Jaman Orba on Chinese Indonesians.01:11:58 — Who is responsible for progressing the racial tolerance in Indonesia? What should we do to progress towards inclusivity in Indonesia?01:23:58  — The myth of cultural incompatibility theory

Home-grown rapper Shigga Shay is the 14th guest in this music channel. Synopsis (headphones recommended): Each month, The Straits Times invites music acts to its podcast studio. In the 14th episode of Music Lab, ST's music correspondent Eddino Abdul Hadi hosts Singaporean rapper Shigga Shay. The 31-year-old hip-hop artist speaks at length about his experience as the first Singaporean to take part in The Rap Of China 2024, the popular Chinese reality show (2017 to present) that looks for the country's next rap star. He was among the 72 contestants out of 600 who passed the first round, and reached the 41st spot before being eliminated in the second round. It is still a win, he says, because his time on the show gave him a platform to reach out to a whole new fanbase in China. He still makes regular trips to China to work with his counterparts there on his upcoming release, a mixtape titled Hanyu Pinyin. Featuring verses in Mandarin, English and Hokkien, this new batch of songs reflect his identity as a multilingual rapper from Singapore who is ready to take on the global stage. Shigga also discusses how hip-hop helped him overcome his shyness, and how his late father gave him his stage name. In the episode, he also performs a rendition of his latest single, Overachieve, which will also be included in his upcoming release Hanyu Pinyin. Highlights (click/tap above): 2:06 On being the first Singaporean to take part in The Rap Of China 14:49 How his multilingual songs tells his story as a rapper from Singapore 18:40 On how he has been rapping for half is life 26:41 Why he calls himself Shigga Shay 30:48 He started making music videos in school 35:13 On running his own music company Listen to Shigga Shay's live performance of Overachieve here: https://str.sg/GRrZ Discover home-grown artiste Shigga Shay at: YouTube: https://str.sg/bnA6 Spotify: https://str.sg/BQLe Instagram: https://str.sg/vMyR Read Eddino Hadi's articles: https://str.sg/wFVa Produced by: Eddino Abdul Hadi (dinohadi@sph.com.sg), Eden Soh, Hadyu Rahim & Amirul Karim Recorded by: ST Podcast Team & Studio+65 Edited by: Amirul Karim Follow Music Lab Podcast here every month: Channel: https://str.sg/w9TX Apple Podcasts: https://str.sg/w9TB Spotify: https://str.sg/w9T6 Feedback to: podcast@sph.com.sg --- Follow more ST podcast channels: All-in-one ST Podcasts channel: https://str.sg/wvz7 ST Podcast website: http://str.sg/stpodcasts ST Podcasts YouTube: https://str.sg/4Vwsa --- Get The Straits Times' app, which has a dedicated podcast player section: The App Store: https://str.sg/icyB Google Play: https://str.sg/icyX -- #musiclabSee omnystudio.com/listener for privacy information.

Our friendly neighborhood a-tsiak (uncle) Justin Chua talks to Stan, Kim, and Ced about creating TikTok content in Hokkien and its impact on younger Tsinoys who want to learn the language, as well as how it's received by the wider Tsinoy community. Hosted on Acast. See acast.com/privacy for more information.

In this second half of our conversation with linguist Wilkinson Gonzales, we get into whether or not Philippine Hokkien should be considered a dying language. We also dig deeper into why being fluent in Hokkien automatically makes you Tsinoy auntie/uncle-approved! Hosted on Acast. See acast.com/privacy for more information.

Linguist and Lannang Archives founder Wilkinson Gonzales joins us for the first of a two-part discussion on Philippine Hokkien and the role it plays in our identity as Tsinoys. Hosted on Acast. See acast.com/privacy for more information.

Jianggan Li, Founder & CEO of Momentum Works, and Jeremy Au talked about three main themes: 1. China Diaspora Waves: Jeremy and Jianggan discussed the long-standing historical connections between China and Southeast Asia, dating back to the era of Admiral Zheng He's voyages during the Ming Dynasty. They touched on the various dialect groups Cantonese, Hokkien, Hakka, Hainanese & Peranakan and event drivers across trade, piracy, civil war, invasions and re-opening.  2. Bamboo Network Economic Interdependence: Jianggan highlighted how Southeast Asian companies benefited from China's manufacturing boom in the 1980s. They also touched on China's tax reforms in the 1990s, which spurred local governments to develop real estate and industrial parks, ultimately boosting China's manufacturing leadership. They cited billionaire Robert Kuok's Kerry Group, intertwining the stories of Fuzhou, Malaysia, Singapore and Hongkong. 3. 996 MNC Culture: Jeremy and Jianggan covered the intense work schedule advocated by Jack Ma of Alibaba, which involves working from 9am to 9pm, six days a week. This is driven by the intense competition and high productivity expectations within Chinese companies. They also discussed the differences in labor regulations and productivity across various countries where Chinese companies have set up operations, such as Vietnam, Cambodia, Turkey, and Mexico, and highlighted the motivation of migrant workers compared to local hires. Jeremy and Jianggan also talked about the below-the-radar influence on South American food culture, challenges for Chinese tech companies hiring in international markets and the resumption of Chinese emigration.  Watch, listen or read the full insight at https://www.bravesea.com/blog/china-migration-waves Nonton, dengar atau baca wawasan lengkapnya di https://www.bravesea.com/blog/china-migration-waves-id 观看、收听或阅读全文，请访问 https://www.bravesea.com/blog/china-migration-waves-cn Get transcripts, startup resources & community discussions at www.bravesea.com WhatsApp: https://chat.whatsapp.com/CeL3ywi7yOWFd8HTo6yzde TikTok: https://www.tiktok.com/@jeremyau Instagram: https://www.instagram.com/jeremyauz Twitter: https://twitter.com/jeremyau LinkedIn: https://www.linkedin.com/company/bravesea TikTok: https://www.tiktok.com/@jeremyau Instagram: https://www.instagram.com/jeremyauz Twitter: https://twitter.com/jeremyau LinkedIn: https://www.linkedin.com/company/bravesea English: Spotify | YouTube | Apple Podcasts Join us at the startup conference Echelon X! We have 30 exclusive complimentary tickets for our podcast listeners. Sign up and use the promo codes BRAVEPOD or ECXJEREMY to claim your free tickets now!

North, South, East, West, WHO IS THE BEST??Does Choa Chu Kang REALLY have the BEST Hokkien Mee in Singapore?! We bring the ALL-NEW Volkswagen ID.4 out for the tastiest (and longest) test drive ever.-Visit the VW Showroom at 247 Alexandra Road and book your test drive today!For more information on the Volkswagen ID.4, visit: https://www.volkswagen.com.sg/models/electric-vehicles Hosted on Acast. See acast.com/privacy for more information.

Last time we spoke about the end of WW1 and China's bitter experience at the Paris Peace conference. Yes it WW1 brought a lot of drama to China. Yuan Shikai and later prominent figures like Duan Qirui took the poor habit of making secret deals with the Japanese that would very much bite them in the ass later in Paris. The Chinese delegation came to Paris hoping to secure major demands, most notably to solve the ongoing Shandong Problem. Instead they quite literally found out there were secret deals between China and Japan that completely hindered their war aims. To add insult to injury the western powers, notably Britain had also made secret double dealings with Japan. In the end Japan got her way, China did not, it was so embarrassing the Chinese delegation did not bother signing the Treaty of Versailles. Things could not possible get any worse eh?   #92 The New Culture Movement   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. To say this is a big event in Modern Chinese history is certainly an understatement. I have to acknowledge over on my personal channel the Pacific War channel I made an episode on this topic. I had no idea what I was getting myself into, but I am very glad I tackled it. It was the first time a large portion of Chinese audience members came forward and thanked me for covering the subject. I was honestly a bit baffled, the episode picked up steam, I thought, hmmm why is this getting views, its a rather boring, non battle more political episode. Well case and point, this story is really the birth of modern China. If you go searching for books on this subject you will find so many of its impact on just about every facet of China today and even on other nations. Now there is two major subjects at play here, the May fourth movement and the New Cultural movement. I am going to do my best to try and cohesively tell this, but its a rather difficult one to be honest. For the sake of cohesion and to be blunt while writing this I just don't think I will manage to fit both subjects into one episode, I first am going to tackle what exactly the “New Cultural Movement” was and I am guessing I will have to leave the May Fourth Movement for next episode.  The New Cultural Movement is intertwined with the May Fourth Movement, or you could call it the progenitor. In essence it was a progressivist movement that sprang up in the 1910's and would continue through the 1920's criticizing traditional Chinese ideology and promoting a new culture. This new culture was influenced by new age science and modern ideals. It's during this period you find many of China's big scholars start speaking out and making names for themselves. Now we have been talking in length about numerous issues that hit China during the 1910's such as WW1, Yuan Shikai's craziness, secret deals getting leaked to the public, the Shandong Problem, the Treaty of Versailles and all of these summed up were just more and more humiliation for China. The people of China were fed up. The people of China wanted change. Now its hard to encompass all that was sought out, but there are 6 large themes of this New Cultural movement that I shall list.  The first change the public wanted was because of their outdated writing system, they wanted a more vernacular one. Second the confucian based tradition patriarchal family model was very outdated and it was a hindrance against individual freedom and women's rights. Third the people wanted China to be a real nation, one amongst the other nations of the world, not stuck in its Confucian model. Fourth the people wanted China to adopt a more scientific approach to things rather than the traditional confucian belief system. Fifth, the Chinese people wanted democracy human rights, all of the enlightened values other nations had. Lastly China had always been a nation who looked at the past rather than towards the future, this had to end.  Now before we hit each of these lets summarize a bit of this time period, the environment and feeling of the day. The Qing Dynasty had fallen during the Xinhai revolution seeing the rise of Yuan Shikai. Yuan Shikai stamped down on all opposition, this included intellectuals also, many were exiled. There of course was a lot of animosity to Yuan Shikai, he was after all the guy who for a lack of better words, stole the leadership from Dr Sun Yat-Sen and he crushed the second revolution. One of these intellectual exiles found himself in Tokyo, Zhang Shizhao, there he founded a political magazine called The Tiger. The Tiger ran for about a year in 1915 and would have a significant impact on other political journals in China. The Tiger was known for probing political questions of the day, its writers often grappled with how underlying cultural values and beliefs shape politics. It inspired others to write similar magazines, notably, Chen Duxiu Now also in 1915 as we know, the Twenty-One Demands were issued, Yuan Shikai was forced to sign the Thirteen demands and all of this got leaked to the public. In 1915, Chen Duxiu founded the magazine “Jinggao qingnian” “New Youth”and he would have future intellectuals as editors of it such as Li Dazhao, Hu Shih and Lu Xun. In its first issue titled Jinggao qingnian literally translate as “letter to Youth”, it encouraged young people to “be independent and not enslaved, be progressive and not conservative, be in the forefront and not lagging behind, be internationalist and not isolationist, be practical and not rhetorical, and be scientific and not superstitious.” Chen Duxiu advocated for science and democracy, these would become rallying cries often in the form of “Mr. Democracy and Mr. Science”. This would spring forth more literature like “Xinchao” “the Renaissance” founded by the Renaissance Society in 1918 whose members included Beijing students directly inspired by Chen Duxiu, Hu Shih and Li Dazhao. The Renaissance promoted western political and social ideology, encouraging the youth of China to embrace progressive politics. The New Youth was by far the most influential magazine. In 1917 Chen Duxiu and Zhang Shizhao moved to Beijing University where they became acquaintances and alongside others built up a community that would usher in the New Culture Movement. At this time the intellectual powerhouses were Peking University and Tsinghua University in Beijing and Shanghai which had a booming publishing industry. Many scholars who would contribute to the New Culture movement would be found at Peking University such as Cai Yuanpei, who served as president of the University in 1916. Cai Yuanpei was a colleague of our old friend Li Shizeng whom both founded the Diligent Work-Frugal Study movement, sending worker-students to France. It was Cai Yuanpei who recruited those like Chen Duxiu, Li Dazhao and Hu Shih. Chen Duxiu served as the dead of the School of Arts and Letters at the university; Li Dazhao became its librarian and Hu Shih helped translate and perform numerous lectures.  These men would lead the fight for “baihua wenxue” or the Vernacular Literature Movement. Yes there's a lot of movements in this episode. Now Baihua is a form of written Chinese based on the numerous varieties of Chinese spoken in the country vs, “classical Chinese”. This probably sounds a bit confusing, but think of it this way. Going all the way back to the Shang dynasty a process of creating Chinese characters was gradually standardized by the time of the Qin dynasty, so thats 1200 BC to 206 BC. Over the following dynasties the Chinese calligraphy is created, however what also occurs is the evolution of language. The Chinese language branched off into numerous dialects, thus all over China people are speaking different but related forms of Chinese, yet the way they write is using this “classical Chinese writing”. As you might imagine, by the time of the 20th century, the classical chinese writing is so vastly different from what people are speaking, by this time its Mandarin, Cantonese, Hokkien, and many many more. Classical Chinese had become extremely outdated.  Chinese intellectuals in the early 20th century were looking to reform the literary system. Two of the big proposals that came about were to simplify Chinese characters and create a Chinese writing system using the latin alphabet. Professor at Peking University, Qian Xuantong was a leading figure on the Latinization movement. Chen Dixiu on the topic of Chinese characters had said  “backward, difficult to recognize, and inconvenient to write”. He blamed them for China being stuck in conservatism and having lacked modernization. There was a movement to switch to pinyin to spell out Chinese characters, for those who don't know Pinyin is alphabetically written Chinese, aka the only way Craig is able to read most of his sources haha. The plan to formalize this never occurred, but there was a real fight for it. Many scholars began writing in Baihua, one of the most famous works was Lu Xun's “A Madman's Diary”. In essence it was a short story criticizing early 20th century Chinese society, trying to challenge its audience into conventional thinking vs traditional understanding. The story has Lu Xun's madman seeing family and village members around him performing cannibalism which he has attributed to some confucian classics. Basically he implies China's traditional culture was mentally cannibalistic. Building somewhat on this theme, Chen Duxiu wrote in the New Youth how Mr. Confucius needed to be replaced by Mr. Science and Mr. Democracy. Meanwhile Hu Shih argued “a dead language cannot produce a living literature”. He further argued a new written format would allow the Chinese people with less education to read texts, articles, books and so forth. It was classical Chinese that was holding the less educated back. Basically he was criticizing how scholars basically held a monopoly on information. Hu Shih was highly praised for his efforts, one man named Mao Zedong would have a lot to say about how grateful China should be to him. Mao Zedong of course was a assistant at Peking University's library at the time. Now alongside the battle to change the written language of China, there was a feminist movement as well. Women suffered greatly under the traditional system. Prior to the 20th century Women in China were considered essentially different from Men as you can imagine. Confucius argued that an ordered and morally correct society would refrain from the use of force. Violence and coercion were deviant and unwelcomed. Instead a correct person would aim to become “junzi” meaning gentleman or a person of integrity. For society to remain stable, it was crucial correct hierarchies were established. Servants obey masters, subjects obey rulers, children obey parents and women obey men.The association of Women with Yin and Men with Yang, two qualities considered important by Daoism, still had women occupying a lower position than men in the hierarchical order. The I Ching stated “Great Righteousness is shown in that man and woman occupy their correct places; the relative positions of Heaven and Earth”. Women of course were supposed to be submissive and obedient to men, normally forbidden to participate in politics, military and or communal aspects. The traditional Confucian led Chinese society simply valued men over women. To get into the most hardcore aspect of this, did you know China had a near 2000 year history of female infanticide? It was written by many Christian missionaries arriving in the late 16th century to China that they witnessed newborns being thrown into rivers or in the rubbish. The primary cause of this practice was poverty, shortages of food. Confucianism influenced this practice quite a bit. Male children were to work, provide and care for their elders, while females were to be married off as quickly as possible. During the 19th century “ni nu” to drown girls was widespread, because of the mass famines. Exposure to the elements, strangulation, tossing a child into a basket and casting it off were normalized. Buddhists would build these things called “baby towers” for people to dump children at. Later on in 1930, Rou Shi a famous member of the May Fourth movement would write a short story titled “A Slave-Mother” portraying how extreme poverty in rural communities led to female infanticide. Hell turn the clock even more to the 1970's and we got the One-Child Policy where females were often aborted or abandoned. Alongside this infant girls at the age of 5 or 6 would often have the feet bound, a centuries old practice that would increase their marriageability. This hobbled them for life. When women married, their families pretty much abandoned them. Often this marriages were arranged and the new wife could expect to be at the autocratic mercy of her mother in law henceforth. If her husband died there was great social pressure for her to remain unmarried and chaste for the rest of her life. It goes without saying, suicide rates in China were the highest among young women. During the late 19th century the ideal woman was “xiangqi liangmu /a good wife and loving mother”. During the early 20th century the new ideal was becoming “modeng funu / modern woman”. Women wanted to pursue education and careers outside the home. Whether it was by choice or a financial necessity, Chinese women increasingly left the domestic sphere. They entered the workforce in all available forms, typically but not limited to factories, offices, and the entertainment industry. Yet the traditional social norms limited their opportunities in work, education and politics. Women according to the traditional system were not supposed to make speeches in the streets. But those like Liang Qichao began calling for the liberation of women, to let them be educated, allow them to participate in Chinese society.  The confucian social order held the hierarchy of husband over wife, but within the New Culture Movement that criticized Confucianism and traditions, now there was a deep want for women to be seen as human beings, as independent people who should become actors in the public sphere. When those like Chen Duxiu began writing and lecturing about tossing aside the old and looking at the new, this also included women. Thus the New Culture Movement had a large aspect of gender equality and female emancipation. There was also the aspect of dress. By the 1920's women would abandon traditional garments of embroidered hip or knee length jackets and trousers. They began wearing short jackets, skirts and the qipao, a one piece dress. Unlike the traditional women's clothing that hung loosely around the body, the Qipoa was form fitting. A women's suffrage movement began, though it would take some time. So you might be seeing the theme here, the old, traditional, confucian past, was needing a new replacement. The written language needed to be updated, women needed to be more equal to men. How about the nation of China itself? The New Culture leaders wanted to see China as a nation amongst nations, not one culturally unique. They began doing what many nations did around the turn of the century, they looked outwards. They looked at foreign doctrines, particularly those that emphasized cultural criticism and were nation building. Many of these intellectuals were the lucky few who went abroad, received foreign educations. They took western and Japanese ideas, seeing what could be used to create a new model for China and her vast population. Many were enthralled by President Woodrow Wilson's 14 points and ideals of self-determination. The Xinhai revolution had ushered in a Chinese nationalist spirit which demanded resistance to foreign impositions and the elimination of domestic autocracy. They had overthrown the Manchu, now they wanted to overthrow the global powers who had been encroaching upon their nation since the mid 19th century. So many of these intellectuals had hoped with the end of the war would come an end to their national disgrace.  The intellectuals argued China's failure to modernize was caused by both external and internal factors. Externally, foreign powers had been encroaching upon China for decades. Foreign powers had gone to war and defeated China, forcing her to sign unequal treaties. Internally China's economy, social system and cultural values were holding her back. This brought forward the need for a “new culture” to kick start the development of a new state. They argued China needed educational and social progress to remedy the states diplomatic weakness and endemic poverty. China's economy, social fabric and international standing needed to be improved, and the answer was programs of public education. Yet to do so, the less educated needed to be able to read and participate, ie: vernacular writing.  Liang Qichao was a huge influence on ideas to build China as a modern state. He created the “Xinmin Congbao / new citizen”, a biweekly journal first publishing in Yokohama Japan back in 1902. The journal covered numerous topics like politics, religion, law, economics, geography, current affairs and such. Basically Li Qichao was showing the Chinese public never before heard theories. Liang Qichao got Chinese people to think about the future of China. What did it even mean to identify as Chinese? He allowed more Chinese to look out into the world, so they could see many different paths and ideas. There were countless, Darwinism, liberalism, pragmatism, socialism all these new “isms” could be the tools to a realization of a strong and unified China. And of course there was Marxism, many Chinese laborers who went to Russia saw first hand what the Bolsheviks had accomplished. The principal of Peking University, Cai Yuanpei would resign on May 9th, 1919 causing a huge uproar. What once united all these intellectual New Culture movement types, gradually changed after the May fourth movement. Hu Shih, Cai Yuanpei and liberal minded intellectuals urged for protesting students to return to their classrooms, but those like Chen Duxiu and Li Dazhao urged for more radical political action. Marxist study groups would form and with them the first meetings of the Chinese Communist Party. This is of course a story for future podcasts, but it should be noted there would be a divide amongst these intellectuals as to how China should be “modern”. Li Dazhao for example advocated for fundamental solutions, while Hu Shih criticized such thinking “calling for the study of questions, less study of isms”. Those like Chen Dixiu and Li Dazhao would quickly find followers like Mao Zedong.  Now the overall theme here has been “toss out Confucius!” but it was not all like that. Part of the movement much like the Meiji restoration, was to usher in some new, but to incorporate the old so to not lose ones entire culture. For those of you who don't know I began my time on youtube specifically talking about the history of Tokugawa to Showa era Japan. The Meiji restoration was an incredible all encompassing hyper modernization, that for the life of me I can't find a comparison to. But an interesting aspect of it was the “fukko / restore antiquity”. It often goes unmentioned, but the Japanese made these enormous efforts to crop out the outside influences such as Confucianism, Buddhism and such, to find the ancient cultures of their people. This eventually led to an evolution of Shintoism, thus Japan not only wanted to adopt new ideas from the rest of the world, they wanted to find the important aspects of their own cultural history and retain it, make sure they did not lose what made them Japanese. The same can be said of China here.  Yigupai or the “doubting antiquity school” was a group of scholars who applied a critical historiographical approach to Chinese historical sources. They took their ancient texts and really analyzed them to see what was truly authentic, what should be kept. Hu Shih initiated the movement. He had studied abroad and was deeply influenced by western thinking and argued at Peking University that all Chinese written history prior to the Eastern Zhou, that is the second half of the Zhou dynasty needed to be carefully dissected. Many were concerned with the authenticity of pre-Qin texts and began questioning the writers of past dynasties. There was also Gu Jiegang who formed the “Gushibian / Debates on Ancient history” movement and published magazines of the same name. Later in 1922 there was the Critical Review Journal, involving numerous historians. Their work dismantled many beliefs or at minimum cast some doubt on ancient textual writings that had been around for millennia. For example there was the belief Yu the Great or Yu the Engineer who was the first to make real flood control efforts during the Xia Dynasty was an animal or deity figure. There was the notion of peaceful transition of power seen from the Yao to Shun dynasties, but the group found evidence this was all concocted by philosophers of the Zhou dynasty simply to support their political philosophy. They were basically detectives finding the bullshit in their ancient history and this had a profound effect on the current day thinking. The doubting antiquity group's proved the history of China had been created iteratively. Ancient texts had been repeatedly edited, reorganized, hell many had fabricated things to make ends meet for themselves, you could not take their word at face value. They argued all of the supernatural attributes of historical figures had to be questioned, a lot of it was not possible and thus not authentic versions of their history. But the group also were victims of their own criticisms. Many of them would criticize parts of antiquity history simply to get rid of things they didn't like or that got in the way of current day issues. There was also another element to the doubting antiquity movement. Students were pushed to look over things in ancient Chinese history, chinese folklore that Confucian schools dismissed or ignored.  Within the background of the Twenty-One Demands, the Sino-Japanese Treaty, the double promising of Britain and other secret deals made over the future of China had angered her people greatly. The common people of China did not feel represented nor heard at all. Japan was encroaching upon them in Manchuria and now Shandong. Their leadership were either making secret deals to secure their own objectives, or they were completely powerless to other nations and crumbling, such as the case at Versailles. With so many students and laborers going abroad witnessing the civilizations of other nations in the west and Japan, they yearned for the things those people had. Democratic and egalitarian values were at the very forefront of the New Culture Movement. Western science, democracy, bills of rights, racial equality, equality of opportunity, opportunity to venture into politics, the list can go on, these were things alien to China. The people began to enchant the masses with such ideas, while simultaneously criticizing traditional Chinese ethics, her customs, literature, history, philosophy, religion, social and political institutions and such. Liberalism, pragmatism, utilitarianism, anarchism, socialism, communism were thrown around like yardsticks so the people could measure China's traditional culture against them. How did such “isms” match up? Within the current crisis in China which one of these isms might benefit them the most? Overall the movement kept up the greatest theme of needing to look forward. China had always looked to the past. They had suffered so immensely, they were after all enduring the century of humiliation as it would famously become known. It was humiliation after humiliation. How could they change so the past would stop haunting them? Things like the Boxer Protocol, how could China rid itself of these humiliating indemnity payments? Britain's Opium had ushered in a poison that still plagued them, how could they finally rid China of it? The war and encroachment of nations like Britain, Russia and Japan, how could they stop them from continuing these actions? China could not stay the way she was anymore, she had to change. Thus overall within every facet of the movement's ideology, they kept emphasizing to stop looking in the past for answers for today. Today would require looking abroad and within and it would not be easy.  This episode and I do apologize it must be all over the place for you, encompasses a lot of the thoughts and feelings, but its part of a great event known as the May Fourth movement of 1919. China is basically for the first time really going to try and adopt fundamental changes, to become a real modern state. If it were not for lets say, the descent into warlordism, perhaps the Chinese Republican dream could have been started in 1919. Regardless, China will see an incredible amount of change in a short amount of time.  I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The New Culture Movement saw numerous intellectuals rise up and challenge the prevailing social and political order of their nation. They tried to give the public new answers to old questions, and above all else hope. Hope for a better tomorrow. It was to be a arduous journey, but students would be the vanguard into a new age for China.

Want to join me on a peak food adventure? I trawl a Phuket fresh market at dawn with chef Thames Kraitat, learning so much about fresh ingredients and how they're used, then we sit down for a Hokkien-style dim sum breakfast. I am in heaven. https://www.instagram.com/thameskraitat/ Follow Dirty Linen on Instagram https://www.instagram.com/dirtylinenpodcast Follow Dani Valent https://www.instagram.com/danivalent Follow Rob Locke (Executive Producer) https://www.instagram.com/foodwinedine/ Follow Huck (Executive Producer) https://www.instagram.com/huckstergram/ LISTEN TO OUR OTHER FOOD PODCASTS https://linktr.ee/DeepintheWeedsNetwork Dirty Linen is a food podcast hosted by Australian journalist Dani Valent. A respected restaurant critic and food industry reporter in her home town of Melbourne, Dani is a keen, compassionate observer of restaurants and the people who bring them into being. Whether it's owners, waiters, dishwashers, chefs or members of ancillary trades from tech to pottery, Dani interviews with compassion, humour and courage. Dirty Linen goes deep, both in conversations with individuals and in investigating pressing issues.  Dirty Linen is an Australian food podcast produced by the Deep in the Weeds Podcast Network.

‘the man spun instinctively to face them, both hands covering his chest, looking almost sorrowful as blood glazed his fingers'In the ninety sixth episode of the Translated Chinese Fiction Podcast we are entering into dialogue with bioscientist-turned-historical-fictioneer Chen Yao-chang and translator Chen Tung-jung to learn how they cultivated Puppet Flower: A Novel of 1867 Formosa (傀儡花 - kuǐlěi huā), to see if we can arrive at a peaceful settlement between the native people of southern Taiwan, their absentee Qing administrators, and the diverse Western powers creeping ever closer. Oh, and the other people on the island. You know – the Hakka, the Hokkien, the Han… have you lost count yet?-// NEWS ITEMS //Sinoist Books is hitting the road for a UK tourThe Book of Beijing is coming to ManchesterThe Little Red Podcast does a Chinese sci-fi episode-// WORDs OF THE DAY //(真 – zhēn – truth)(Formosa – 福尔摩沙 – Portuguese for ‘beautiful')-// MENTIONED IN THE EPISODE //The Rover Incident and the Hengchun PeninsulaChen Yao-chang's place in stem cell historyThe efforts of Le Gendre and other westerners to map southern TaiwanThe TV adaptation: Seqalu: Formosa 1867-// Handy TrChFic Links //Help Support TrChFic // Episode TranscriptsINSTAGRAM ⛰️ TWITTER ⛰️ DISCORD

Today we're going to bring you an inside look into one of the oldest bakeries in Singapore.  Make a guess – you might have just passed by one of their outlets today!  Back in 1926, Polar Puffs and Cakes, or the then Polar Cafe opened its first outlet on 51 High Street, where it was known for its Curry Puffs, ice-cream and chilled beverages.  The cafe was more notably the go-to place for politicians, lawyers and businessmen due to its strategic location near the trading harbour. Among them – prominent Hokkien businessman Lim Bo Seng, according to the firm.  Fast forward to the present, Polar has moved away from the cafe business by adopting a takeaway model. That started in 1996 when the company signed a supply partnership with Exxonmobil to turnaround the slowing cafe business.  And such partnerships have become an integral part of the business. Currently, Polar operates over 190 locations in Singapore. 165 are part of partnerships with businesses, while 30 of them sell directly to consumers in malls. So how does the firm navigate its relationship with such partners, and what are some of Polar's plans for the future? On Under the Radar, The Evening Runway's finance presenter Chua Tian Tian posed these questions to Francis Looi, CEO, Polar Puffs & Cakes.See omnystudio.com/listener for privacy information.

Come listen to our fun conversation with the youngest PGHK guest. The podcast existed even before he was born! However, don't let his young age fool you. Not only is he fluent in Hokkien, his showmanship and screen presence will impress anyone regardless of age! [ratings] http://dts.podtrac.com/redirect.mp3/penanghokkien.com/media/PgHkn-2023-08-21.mp3 Follow me on:

「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集：「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast， 我們一共分開五節，每節的主題如下：廈語片／ 潮語片的發展和特色 (Ep. 29)；中聯影業成立的原因和創作理念 (Ep. 30)；中聯的發展和其代表作 (Ep. 31)；中聯的影響和著名明星 (Ep. 32)；中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網： 香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here. Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong's film industry was far from what we commonly imagined. One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集：「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast， 我們一共分開五節，每節的主題如下：廈語片／ 潮語片的發展和特色 (Ep. 29)；中聯影業成立的原因和創作理念 (Ep. 30)；中聯的發展和其代表作 (Ep. 31)；中聯的影響和著名明星 (Ep. 32)；中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網： 香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here. Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong's film industry was far from what we commonly imagined. One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

GUEST BIO Travis Giuse Nguyen (he/él) is an interpreter and translator born and raised in Southeast Texas. The son of a Vietnamese fisherman in the U.S. and the long-time resident of two minority-majority cities (Port Arthur and Houston), syncretism is the defining attribute of Travis's lived experience. In his free time, Travis practices self-care by playing boleros on his trusty ukulele, singing, sewing, and caring for his plants.. Instagram | TikTok DEFINITIONS ASL: American sign language Hakka, Hokkien, Cantonese are languages originating from Southern China. Neurotypical/allistic people do not have autistic or other neurologically atypical patterns of thought or behavior. People who have ADHD, ASD are neurodivergent. MENTIONED Ocean Vuong Protactile TAKEAWAYS We naturally internalize traumatic experiences, and they shape how we view the world and interact with it, whether we are cognizant of it or not. When multi-lingual people get dementia, they will lose the last language they learned first. As people who hear, we have access to a lot of auditory information that we glean in passing everywhere we go because people around us communicate in a language we can understand. That is not a privilege that deaf people have, because very few people around them use sign language. Even if you don't know sign language, don't be intimidated to interact with deaf people. Many of us do not speak our cultural language because our parents were wrongly told that teaching us anything other than English would prevent us from becoming fluent in English. Getting to know people who have different lived experiences can help you see your blindspots. Discussing politics/religion only leads to arguments if we don't know how to talk about them. Self-determination is a myth. While we do have choices, our views, our taste, our personality is inevitably shaped by the people and media that surround us. Pulling yourself by your bootstrap is also a myth. No one can claim to be entirely self-made. No one can be part of society without using resources that they didn't create themselves. CONTACT Instagram | TikTok | Web | LinkedIn | Twitter Host: Lazou --- Send in a voice message: https://podcasters.spotify.com/pod/show/nuancespod/message Support this podcast: https://podcasters.spotify.com/pod/show/nuancespod/support

「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集：「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast， 我們一共分開五節，每節的主題如下：廈語片／ 潮語片的發展和特色 (Ep. 29)；中聯影業成立的原因和創作理念 (Ep. 30)；中聯的發展和其代表作 (Ep. 31)；中聯的影響和著名明星 (Ep. 32)；中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網： 香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here. Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong's film industry was far from what we commonly imagined. One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集：「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast， 我們一共分開五節，每節的主題如下：廈語片／ 潮語片的發展和特色 (Ep. 29)；中聯影業成立的原因和創作理念 (Ep. 30)；中聯的發展和其代表作 (Ep. 31)；中聯的影響和著名明星 (Ep. 32)；中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網： 香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here. Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong's film industry was far from what we commonly imagined. One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集：「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast， 我們一共分開五節，每節的主題如下：廈語片／ 潮語片的發展和特色 (Ep. 29)；中聯影業成立的原因和創作理念 (Ep. 30)；中聯的發展和其代表作 (Ep. 31)；中聯的影響和著名明星 (Ep. 32)；中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網： 香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here. Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong's film industry was far from what we commonly imagined. One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

Eh. Gong simi? Many young Singaporeans might not be too familiar with their native dialects today, but it doesn't have to always be this way. Apart from swapping tea with your ahma, tracing our dialects will help us ✨reconnect ✨with our cultural heritage and grasp our roots more deeply. Also, love advice from your ahma in Cantonese hits different with Josiah Leong, who is grandson to the cutest grandma on TikTok. Remember to tell your grandparents you love them after listening to this. (Which btw, is Wa-ai-li in Hokkien). Equipment support: Blackmagic Design, Audio-Technica, City Music - ⁠⁠Blackmagic Design Pocket Cinema Camera 4K⁠⁠ - Lens: Olympus 12-100mm f/4 Lens - ATR2100xUSB dynamic mic - Zoom PodTrak P4 Fresh Off The Pod is an infotainment podcast from *SCAPE (⁠⁠@scapesg⁠⁠). Join Ebeth (⁠⁠@ebeth.lee⁠⁠) and Shane (⁠⁠@shanesoh⁠⁠) to get up to speed about what's FRESH and what's TRENDING. From current affairs to pop culture and even deeper conversations about life, let's have a sizzling good time. This series is brought to you by *SCAPE, recorded at The Pod Studio, powered by Audio Technica and City Music. Headline of the week: Are Chinese dialects at risk of dying out in Singapore? // CNA

Could the state of state-lessness mean a more continental, inclusive sense of belonging? The contemporary Southeast and East Asian artists of the collective Kakilang certainly think so. Challenging their conflation as ‘Chinese', their joint exhibition in London spans the historical migration routes of Vietnamese refugees, to audio maps of Taiwan, and post-Tsunami Japan - regions rarely considered by Western audiences, and rarely from local perspectives. Yet these diverse artworks really speak to similarities, rather than distinct identities, between Asian countries, connecting built and natural environments across the continent. Take Law Yuk-Mui's 2021 video ‘River Atlas', which follows the flows of rivers with the same name in Hong Kong and India, two former colonies in the British Empire.sh Curator Ling Tan reveals how photographic art can refocus our attention from the coloniser/colonised relationship, onto common experiences between artists in Asia, in diasporas, and in the UK. They also speak of the role of language for the 46 million people who use Hokkien, and why their captions read in traditional Mandarin, not the simplified form common in China. Drawing on their own practice as an artist, we see how comforting foods could break down the stereotype of Asian countries as environmentally destructive - and why the exhibition combines new scaffolding and neo-Gothic architecture, to reconstruct shared colonial pasts. State-less 無國界 runs at Two Temple Place in London until 9 April 2023. (You'll find all the links in the episode notes.) WITH: Ling Tan, curator of State-less 無國界. They are an artist and the Associate Artistic Director of Kakilang (formerly Chinese Arts Now, CAN), an annual festival which celebrates the work of artists from across the wide spectrum of East and Southeast Asian heritages. ART: ‘River Atlas, Law Yuk-Mui (2021)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

关注【璐璐的英文小酒馆】+小助手【luluxjg2】获取全文稿不论是海外求学，国际旅行，接待外宾还是跨境业务洽谈中，你是否满腹干货，想做中华文化使者，但又苦于无法用英文表达？语言，不仅能让你看到更广阔的世界也能让你在更大的舞台发出自己的声音。酒馆特别板块： China Story【用英语，说中国】，双语播出，适合不同段位的你。让我们一起，讲述有趣有料的中国故事。The four cuisines we talked about in the previous episode were the four major cuisines of China before the Qing Dynasty, which is why they are collectively known as the Four Great Traditions of Chinese Cuisine (Lu, Chuan, Yue, and Su). Think of the next four cuisines as the newcomers, established around the end of Qing Dynasty to form the major eight.5. MIN (FUJIAN) CUISINE (闽菜): Min Cuisine is from the southeastern coastal province of Fujian. It features the best that both land and sea have to offer. Like most of the cuisines on this list, there are several sub-styles.In the capital city of Fuzhou, the food is light and fresh. Farther from the coast, in western Fujian, there are more meat than seafood dishes. In southern Fujian, you'll find Hokkien cuisine, which has influenced (through migration) the cuisines of Southeast Asia and Taiwan. There is also Putian cuisine, which has a focus on seafood. 由于福建人民经常往来于海上，于是饮食习俗也逐渐形成带有开放特色的一种独特的菜系。闽菜以烹制山珍海味而著称，在色香味形俱佳的基础上，尤以“香”、“味”见长，其清鲜、和醇、荤香、不腻的风格特色，以及汤路广泛的特点，在烹坛园地中独具一席。福州菜淡爽清鲜，讲究汤提鲜，擅长各类山珍海味；闽南菜（厦门、漳州、泉州一带）讲究佐料调味，重鲜香。故此闽菜形成三大特色，一长于红糟调味，二长于制汤，三长于使用糖醋。In many parts of Fujian, a meal is not a meal without a soup. Their most esteemed soup—also perhaps the most famous soup in China—has a very unusual name. “Buddha/Monk Jumps Over the Wall” (佛跳墙).The name suggests that it's so tantalizing that a monk would break all restraint and jump over the monastery wall to have a taste!It takes a few days to make this soup, with several very expensive ingredients from both land and sea. Some include jinhua ham, chicken, pork, mushrooms, fresh bamboo shoots, abalone, sea cucumber, dried scallops, and dried fish maw.With all these extravagant ingredients, you can expect to pay an arm and a leg for a bowl. The broth is clear, but the flavor is equally delicate, rich, and powerful. 佛跳墙通常选用***、海参、鱼唇、牦牛皮胶、杏鲍菇、蹄筋、花菇、墨鱼、瑶柱、鹌鹑蛋等汇聚到一起，加入高汤和福建老酒，文火煨制而成。成菜后，软嫩柔润，浓郁荤香，又荤而不腻，味中有味。Fujian cuisine also uses rice wine to make “drunken” dishes, fermented rice wine to make brines, and fermented red yeast rice sauce to braise.

In 1728, Emperor Yongzheng complained that he couldn't understand officials hailing from the provinces of Guangdong and Fujian, where they spoke, respectively, Cantonese and Hokkien.Three hundred years later, we continue to struggle with the question of how dominant the lingua franca of Mandarin should be over more local languages. In the PRC, the current conflict is between Mandarin and Cantonese, and in Taiwan, Mandarin and Taiwanese Hokkien are spoken side by side.So what is Mandarin? How did it come about? How much does it actually resemble the language of ancient China? To what extent was the modern standardization process artificial? Would it matter if it was?And, finally, can the southern dialects actually claim greater antiquity and prestige?

Baby comic Jin Hao Li is still studying at the University of St Andrews, but he already amassed a remarkable win at the legendary Comedy Store Gong Show in London and got through to the final of Chortle Student Comedy Award this year; A fellow veteran comedian described him as "You are a baby who is walking - but you are not supposed to!"The Singaporean comedy prodigy explains in this episode why he does not carry the usual sound of Southern Chinese dialects like many fellow Singaporeans do. Jin Hao talks about code switching and how his Singlish is only revealed with boys back home.Even though he adores Singlish and Singlish humour, he is just unable to perform his surreal style of comedy in the Singlish accent and retains instead this "privileged international student" accent.---------------------------------Follow Jin Hao on InstagramFollow your host Kuan-wen on Instagram and Twitter----------------------------------If you like the episode, please share it and leave a review. For any comments or suggestions, please contact us on Instagram or email comedywithanaccent@gmail.com----------------------------------Episode timeline00:53 Intro05:03 An Atypical Chinese Singaporean who does not have a dialect08:12 Singlish accent v privileged international student accent10:55 White British putting on a “Black-ent”13:17 Learning English through Coca-Cola-lisation18:22 Chinese Singaporeans preferring a separate label from Mainland Chineses19:49 Chinese Singaporeans with Southern Chinese heritage (Hokkien v Cantonese v Hakka v Mandarin)20:46 The Manchurian people and the language (Northeast China)22:03 Jin Hao confused between “Elderly” 長輩 and “Seniors” 前輩 in Mandarin25:29 Jin Hao's inability to write jokes in Singlish28:23 The “Speak Good English” Campaign in Singapore29:39 Why do some people refuse to think of Malaysia and Singapore as English-speaking countries?35:35 Jin Hao performs in a non-Singlish accent in Singapore37:33 Moving from China to Singapore39:58 Jin Hao's social media---------------------------------Podcast intro music by @Taigenkawabe

No matter how many cameras or sensors they use, autonomous cars will never be perfect, but research from Japan suggests a simple upgrade could help reduce the risk of self-driving cars hitting undetected pedestrians: a pair of animated googly eyes that make it obvious what the vehicle has spotted or not. https://gizmodo.com/self-driving-cars-autonomous-vehicles-googly-eyes-study-1849643126 "This research introduces and demonstrates an artificial intelligent material that can learn to exhibit desired behaviors and properties when exposed to increased environmental conditions," said Jonathan Hopkins, the study's lead researcher and professor of mechanical and aerospace engineering at the UCLA Samueli School of Engineering. https://interestingengineering.com/innovation/a-new-ai-material-can-learn-behaviors-and-adapt-to-different-circumstances Meta said Wednesday that it has built an artificial intelligence system that translates Hokkien into English, though the Taiwanese language lacks a standardized written form. https://techxplore.com/news/2022-10-meta-touts-ai-spoken-only-language.html Today at Adobe Max 2022, Adobe will showcase a prototype AI project that can convert a still image of a person into an animated dancer. https://www.theverge.com/2022/10/19/23412526/adobe-dancing-ai-prototype-project-motion-mix-max-2022 Mystery Scoop's Lorenzo Folli and Olga Shirnina have put together a fascinating compilation of historical 19th-century portraits that have been digitally restored and brought to life using AI software. https://laughingsquid.com/restored-19th-century-portraits-brought-to-life/ Visit www.integratedaisolutions.com

Podcast jest dostępny także w formie newslettera: https://ainewsletter.integratedaisolutions.com/ Bez względu na to, ilu kamer lub czujników użyją, autonomiczne samochody nigdy nie będą idealne, ale badania prowadzone w Japonii sugerują, że prosta aktualizacja może pomóc zmniejszyć ryzyko uderzenia samojezdnych samochodów w niewykrytych pieszych: para animowanych wyłupiastych oczu, które sprawiają, że oczywiste jest, co pojazd ma lub czego nie zauważył. https://gizmodo.com/self-driving-cars-autonomous-vehicles-googly-eyes-study-1849643126 „Badania te wprowadzają i demonstrują sztuczny inteligentny materiał, który może nauczyć się wykazywać pożądane zachowania i właściwości po zwiększonej ekspozycji na warunki otoczenia” https://interestingengineering.com/innovation/a-new-ai-material-can-learn-behaviors-and-adapt-to-different-circumstances Meta w środę powiedziała, że zbudowała system sztucznej inteligencji, który tłumaczy Hokkiena na angielski, mimo że język tajwański nie ma standardowej formy pisemnej. https://techxplore.com/news/2022-10-meta-touts-ai-spoken-only-language.html Adobe ujawni prototypowy projekt sztucznej inteligencji później na Adobe Max 2022, który może przekształcić nieruchomy obraz osoby w animowanego tancerza. https://www.theverge.com/2022/10/19/23412526/adobe-dancing-ai-prototype-project-motion-mix-max-2022 Lorenzo Folli i Olga Shirnina z Mystery Scoop stworzyli fascynującą kompilację historycznych portretów z XIX wieku, które zostały odrestaurowane cyfrowo i ożywione za pomocą oprogramowania AI. https://laughingsquid.com/restored-19th-century-portraits-brought-to-life/ Odwiedź www.integratedaisolutions.com

Unabhängig davon, wie viele Kameras oder Sensoren sie verwenden, autonome Autos werden nie perfekt sein, aber Forschungsergebnisse aus Japan deuten darauf hin, dass ein einfaches Upgrade dazu beitragen könnte, das Risiko zu verringern, dass selbstfahrende Autos unentdeckte Fußgänger treffen: ein Paar animierte Kulleraugen, die machen es ist offensichtlich, was das Fahrzeug entdeckt hat oder nicht. https://gizmodo.com/self-driving-cars-autonomous-vehicles-googly-eyes-study-1849643126 „Diese Forschung führt ein künstliches intelligentes Material ein und demonstriert es, das lernen kann, die gewünschten Verhaltensweisen und Eigenaschaften zu zeigen, wenn es verstärkt Umgebungsbedingungen ausgesetzt wird“, sagte Jonathan Hopkins, leitender Forscher der Studie und Professor für Maschinenbau und Luft- und Raumfahrttechnik an der UCLA Samueli School of Engineering . https://interestingengineering.com/innovation/a-new-ai-material-can-learn-behaviors-and-adapt-to-different-circumstances Meta sagte am Mittwoch, dass es ein künstliches Intelligenzsystem gebaut habe, das Hokkien ins Englische übersetzt, obwohl der taiwanesischen Sprache eine standardisierte schriftliche Form fehlt. https://techxplore.com/news/2022-10-meta-touts-ai-spoken-only-language.html Adobe wird heute auf der Adobe Max 2022 einen Prototyp eines KI-Projekts vorstellen, das ein Standbild einer Person in einen animierten Tänzer umwandeln kann. https://www.theverge.com/2022/10/19/23412526/adobe-dancing-ai-prototype-project-motion-mix-max-2022 Lorenzo Folli und Olga Shirnina von Mystery Scoop haben eine faszinierende Zusammenstellung historischer Porträts aus dem 19. Jahrhundert zusammengestellt, die digital restauriert und mithilfe von KI-Software zum Leben erweckt wurden. https://laughingsquid.com/restored-19th-century-portraits-brought-to-life/ Visit www.integratedaisolutions.com

今年火出圈的科技行业热点不多，但AIGC肯定算一个。 AIGC，AI generated content ，翻译过来就是人工智能内容生成，人工智能可以自动生成文本对话、图形图像、语音声音。我们最近总在社交媒体看到AIGC生成的绘画图，许多网红和有影响力的kol也加入到了这种分享浪潮里，乃至成为了一股流行文化，就是技术进步带来的可感改变。 但在绘画之外，其实AIGC能做的工作还有很多。本期「科技早知道」由上下两部分组成，我们分别邀请了AI公司启元世界的CTO龙海涛，和科大讯飞AI研究院的副院长高建清博士，来跟我们聊聊在图形绘画之外的AIGC成果，希望能帮助对AIGC感兴趣的听众了解更多的行业发展。 本期人物 Diane，「声动活泼」联合创始人、「科技早知道」主播 龙海涛，启元世界CTO、联合创始人 高建清博士，科大讯飞AI研究院副院长 主要话题 [01:29] AlphaGo的横空出世对做传统机器学习的同学是很大冲击 [09:00]未来的虚拟世界都需要强大的AI能力生产内容 [10:35]多模态AI being还比较早期，单模态AI是对存量市场的升级 [15:23]目前的AI计算已经可以帮助游戏行业节省很多时间 [20:43] AI公司要能自己造血，养活自己 [26:31]虚拟偶像的中之人未来三五年都会被AI取代 [35:20] AI生成播客的关键技术在于语音合成以及对话文本生成 [41:31]无文本语言之间的互译看起来简单其实很难 延伸阅读 - 往期节目：S6E21｜谷歌 LaMDA ：谢邀，希望大家理解，我也是个人 (https://guiguzaozhidao.fireside.fm/s6e21) - 往期节目：S4E33｜人工智能又一里程碑式突破， GPT-3 红了 (https://guiguzaozhidao.fireside.fm/gpt3) - GGV纪源资本：用AI打败职业冠军，为游戏创造沉浸式NPC：解析这家创企背后的神秘技术 (https://mp.weixin.qq.com/s/cjzav1UZmTYnza2SZYvr_Q) - 游戏陀螺：启元世界推出游戏AI整体解决方案，以通用智能赋能游戏设计降本增效 (https://www.youxituoluo.com/529375.html) - podcast.ai 推出的完全由AI生成的播客，其中包含 Joe Rogan 采访乔布斯的一集：Joe Rogan interviews Steve Jobs (https://podcast.ai/) - Meta 关于无文字语言 AI 翻译的博客：Using AI to Translate Speech For a Primarily Oral Language (https://about.fb.com/news/2022/10/hokkien-ai-speech-translation/) - Meta 关于闽南语翻译方法的研究：Meta's new AI-powered speech translation system for Hokkien pioneers a new approach for an unwritten language (https://ai.facebook.com/blog/ai-translation-hokkien/) - 爱范儿：张成晨 影史著名反派之一，以后都是「替身」出场 (https://mp.weixin.qq.com/s/SmQnNU8Ad0-I-OXIUNlC3Q) 使用音乐 For the Business-Gerhard Feng 幕后制作 监制：信宇 后期：Luke 运营：Babs 设计：饭团 关于节目 原「硅谷早知道」，全新改版后为「What's Next｜科技早知道」。放眼全球，聚焦科技发展，关注商业格局变化。 声动胡同周年月 了解年度活动：声动胡同漫游指南 (https://sourl.cn/BJnkTS)，这一个月每周都有的玩。 11 月 12 日 跟着「跳进兔子洞」采集声音故事 (https://sourl.cn/m7xfGf) 11 月 19 日 「科技早知道」带你上房揭瓦 (https://sourl.cn/YapK9t) 11 月 22 日 - 28 日 请你来当一回「声动早咖啡」主编 (https://sourl.cn/9n9qjC) 12 月 1 日 这次不想严肃了的「声东击西 」，票选嘉宾结果出炉！ (https://sourl.cn/uSkXfr) 12 月 9 日 串门儿线下终场派对 (https://sourl.cn/KthGbA) 现在订阅声动胡同会员计划 (https://sourl.cn/dbjznk)，可以报名参与以上所有活动，还有订阅优惠 国内支付渠道 新会员订阅一整年原价 365 元立减 50 (https://sourl.cn/GWqwsa) 老会员续订一年可享受 8 折优惠 (https://sourl.cn/d53bJA) 国外支付渠道 国外月付限时8折 (https://sourl.cn/FB4xXy) 声动胡同是以声动活泼北京办公室所在的前永康胡同为灵感，为听众打造的会员计划。 我们的会员计划包含： - 专属活动，仅会员可参加的线上线下活动； - 胡同来信，一周三次投递到 email 的会员通讯； 胡同来信试读：像记账一样，记下你花出去的时间 | 丁教 Diane (https://sourl.cn/6MACkD) - 幕后故事，编辑部的讨论和思考日常； - ……以及与声动活泼er沟通的机会和随机掉落的福利。 期待你的加入！ 商务合作 声动活泼商务合作咨询 (https://sourl.cn/6vdmQT) 关于声动活泼 「用声音碰撞世界」，声动活泼致力于为人们提供源源不断的思考养料。 - 我们还有这些播客：声东击西 (https://etw.fm/episodes)、What's Next｜科技早知道 (https://guiguzaozhidao.fireside.fm/episodes)、声动早咖啡 (https://sheng-espresso.fireside.fm/)、商业WHY酱 (https://msbussinesswhy.fireside.fm/)、跳进兔子洞 (https://therabbithole.fireside.fm/)、反潮流俱乐部 (https://fanchaoliuclub.fireside.fm/)、泡腾 VC (https://popvc.fireside.fm/) - 如果你想获取热门节目文字稿，请添加微信公众号 声动活泼 - 如果想与我们交流，欢迎到即刻 (https://okjk.co/Qd43ia)找到我们 - 也期待你给我们写邮件交流，邮箱地址是：ting@sheng.fm - 如果你喜欢我们的节目，欢迎 打赏 (https://etw.fm/donation) 支持，或把我们的节目推荐给朋友 Special Guests: 高建清博士 and 龙海涛.

In an effort to create artificial intelligence (AI)-powered translation programs for unwritten, predominantly oral languages, Meta claims it has developed the first such program for Hokkien, a southern Chinese language that does not have a standardized writing system.

Manglish is an informal form of Malaysian English that contains words, expressions, and sentence structures from multiple languages such as English, Malay, Hokkien, Cantonese, Mandarin and Tamil. What makes Manglish fun and unique (but challenging for non-Malaysians to understand us) is the way Malaysians use direct translations from the Malay language to change the meanings of some English words. In this episode, Madam Azimah explains the meanings of 11 common Manglish words, followed by some examples of how Malaysians might use them. I then provide the Standard English alternatives to the words. Want more tips? Go to https://www.myenglishmatters.com and sign up to join our FREE video course, Speaking with Confidence. We'll send you seven tips to your email address!

Episode 148 Notes and Links to Chen Chen's Work       On Episode 148 of The Chills at Will Podcast, Pete welcomes Chen Chen, and the two discuss, among other topics, his experience as a teacher, his early relationships with reading, writing, and multilingualism, those writers and writing communities who continue to inspire and encourage him, muses in various arenas, etymology, and themes like family dynamics, racism, beauty, and anger that anchor his work.      Chen Chen is an author, teacher, & editor His second book of poetry, Your Emergency Contact Has Experienced an Emergency, is out now from BOA Editions. The UK edition will be published by Bloodaxe Books (UK) in October. His debut, When I Grow Up I Want to Be a List of Further Possibilities (BOA, 2017; Bloodaxe, 2019), was longlisted for the National Book Award and won the Thom Gunn Award, among other honors. Chen is also the author of five chapbooks, including the forthcoming Explodingly Yours (Ghost City Press, 2023), and the forthcoming book of craft essays, In Cahoots with the Rabbit God (Noemi Press, 2024). His work appears in many publications, including Poetry, Poem-a-Day, and three editions of The Best American Poetry (2015, 2019, & 2021). He has received two Pushcart Prizes and fellowships from Kundiman, the National Endowment for the Arts, and United States Artists.    He holds an MFA from Syracuse University and a PhD from Texas Tech University. He has taught in UMass Boston's MFA program and at Brandeis University as the 2018-2022 Jacob Ziskind Poet-in-Residence. Currently he is core poetry faculty for the low-residency MFA programs at New England College and Stonecoast. With a brilliant team, he edits the journal Underblong; with Gudetama the lazy egg, he edits the lickety~split. He lives in frequently snowy Rochester, NY with his partner, Jeff Gilbert and their pug, Mr. Rupert Giles. Buy Your Emergency Contact Has Experienced an Emergency   Chen Chen's Website   Interview with Chen Chen: “Chinatown Presents: Finding Home with Chen Chen”    Interview with Poetry LA from 2017   By Andrew Sargus Klein for Kenyon Review-"On Chen Chen's When I Grow Up, I Want to Be a List of Further Possibilities"               At about 9:15, Chen responds to Pete asking about how he stays so prolific and creative by describing his processes and the idea of any muses or inspirations    At about 11:00, Chen describes “shed[ding] expectations” is or isn't “worthy” of poetry   At about 13:10, The two discuss books on craft and Chen gives more background on his upcoming book of craft essays   At about 16:10, Chen gives background on the Taiwanese Rabbit God and how his upcoming book was influenced by the idea, especially as presented in Andrew Thomas Huang's Kiss of the Rabbit God   At about 18:25, Chen explains his interest in the epistolary form, and how his upcoming work is influenced by Victoria Chang's Dear Memory and Jennifer S. Chang “Dear Blank Space,”    At about 22:30, Chen gives background and history in a macro and micro way for the use of the word “queer” and his usage and knowledge of Mandarin    At about 26:50, Chen describes the sizable influence of Justin Chin on Chen's own work   At about 28:25, Chen describes his early relationship with languages and explores how Mandarin and his parents' Hokkien may influence his writing    At about 34:55, Chen outlines what he read and wrote as a kid, including K.A. Applegate and The Animorphs and Phillip Pullman   At about 37:50, Chen responds to questions about motivations in reading fantasy and other works   At about 38:55, Chen highlights “chill-inducing” works and writers, such as Cunningham's The Hours    At about 41:30, Chen shouts Mrs. Kish and other formative writing teachers and talks about his early writing and the importance of “the interior voice”   At about 42:45, Pete wonders about how Chen's teaching informs his writing and vice versa   At about 45:20, Chen cites Marie Howe's “What the Living Do” and Rick Barot's During the Pandemic as some of his go-to's for teaching in his college classes   At about 48:20, Chen responds to Pete's question about teaching his own work   At about 49:50, Pete and Chen discuss the idea of muses and the writing community energizing-the two cite Bhanu Kapil and Mary Ruefle and the ways in which their philosophies are centered on mutual communication/conversation   At about 55:30, Chen highlights Muriel Leung and an enriching conversation and her unique perspective that led to “I Invite My Parents…”   At about 57:45, The two begin discussing Chen's Your Emergency Contact Has Experienced an Emergency and its seeds   At about 1:00:40, Pete cites grackles as a motif, and Chen recounts memories of his time at Texas Tech and the Trump Presidency    At about 1:02:45, The two discuss the powerful poem “The School of Fury” and the themes of rage and powerlessness and racism; Pete cites a profound insight from Neema Avashia   At about 1:06:45, Pete cites some powerful lines from Chen's work and Chen makes connections   At about 1:08:20, Pete rattles off one of the longest titles known to man, “After My White Friends Say…” and Chen discusses ideas of identity and his rationale for the poem's title and structure   At about 1:11:30, Chen talks about exercises he does in class with Mary Jean Chan's Flèche    At about 1:12:10, The two discuss craft and structure tools used in the collection   At about 1:14:25, The two talk about family dynamics and the speaker's mother and her relationship with the speaker's boyfriend     At about 1:18:50, Pete cites lines that were powerful for “leaving things unsaid” and Chen expands on ideas of innocence and willful ignorance in his work   At about 1:22:30, The two discuss ideas of mortality, including the Pulse tragedy, familial connections, and the series of poems titled “A Small Book of Questions”   At about 1:24:10, Ideas of beauty of discussed from Chen's work   At about 1:25:15, Chen reads “The School of Fury” and the two discuss it afterwards   At about 1:29:40, Chen gives contact info and recommends Boa Editions as a place to buy his book and support independent publishers, and another good organization in Writers and Books, featuring Ampersand Bookstore     You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.  This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.  Please check out my Patreon page at www.patreon.com/chillsatwillpodcastpeterriehl to read about benefits offered to members and to sign up to help me continue to produce high-quality content, and a lot of it. The coming months are bringing standout writers like Justin Tinsley, Jose Antonio Vargas, Robert Jones, Jr., Allegra Hyde, Laura Warrell, and Elizabeth Williamson. Thanks for your support!    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 149 with Erika T. Wurth. Erika's highly-awaited literary-horror novel, White Horse, is forthcoming on November 1; she is a Kenyon and Sewanee fellow and an urban Native of Apache/Chickasaw/Cherokee descent. The episode will air on November 1, the publication date for White Horse.  

Entering the world of inclusivity… I don't even know the ‘right' words to say when it comes to inclusion, people of colour and honouring the land I grew up on or reside on… I'm lost… I was part of an inclusivity training a few months ago. Even though I am of Chinese ethnicity, I grew up in Melbourne, Australia with Malaysian-Chinese parents who spoke English at home because their dialects were completely different (Hokkien and Cantonese). I was one of three asians in a class of caucausians. I took part in a retreat in Darwin with the Yolngu people of Elcho Island 2 years ago… and I was lost, and ashamed at how little I knew in the space I found myself in… I'm at the start of my journey learning about how to speak about this topic, how to honour the land and the people… This is an off the cuff recorded conversation with the beautiful Jodie Treanor. We met one week prior and she was my safe person to start the journey describing my NZ origins and I am forever grateful. I am sure this is just the start. I'm sure if I feel this way some of you also feel this way. I realise with anything, it's about starting. Now I have the desire after so many years. Jodie has kindly left her details below and the template that she discussed on our call. As always I love if you reach out to my guests and of course if you are after assistance and you feel that Jodie is the person who can help you please reach out. Pepeha Template: HERE We always appreciate a 5 star rating, review or for you to share with your friends. To watch the video version of this Podcast head to my YouTube channel https://www.youtube.com/channel/UCTpnN0BqACf-K15rCsgruuA To find out more about Jin https://drjinong.com For group courses and trainings https://theartoflisteningtoyourbody.com

En este episodio continuamos la ruta por la isla de Borneo en su parte malaya que empezamos en el episodio: Viaje a Borneo, la isla más salvaje del Sudeste Asiático: Kuching (1) https://www.ivoox.com/en/viaje-a-borneo-isla-mas-salvaje-del-audios-mp3_rf_91803052_1.html Hoy hablamos de Sibu, el centro comercial del estado de Sarawak en Malasia y lugar de mayoría china de las etnias Fuk Chow y Hokkien. Viajando Sin Planes es el podcast con más contenido sobre vivir y viajar por el Sudeste Asiático, hazte apoyo y accede a más de 300 episodios exclusivos solo para apoyos de Ivoox. Enlace de apoyo https://www.ivoox.com/en/podcast-viajando-sin-planes_sq_f1493290_1.html

A brief, concise history of Taiwan from the late 1800s to 1970. This episode covers:  Colonial rule in Taiwan (Portuguese & Dutch, Chinese, Japanese... etc)  Sub-ethnicities within the Taiwanese people — Native Indigenous (many tribes), Hokkien, Hakka, and mainlander  Japanese rule of Taiwan from 1895 to 1945.  Post-WII change from Japanese rule back to Chinese rule 228 Incident in 1947  KMT exile to the island of Taiwan and the repercussions, White Terror  Relations with US, China, and Taiwan  + more  Notes: - I make the mistake a time or two of calling the "Republic of China (ROC)" as the same as the KMT. The KMT is a political party, while the Republic of China is the name they often call the country of Taiwan, as they moved the headquarters of the ROC over to Taiwan in 1949. The KMT and ROC are different entities, though very intertwined. - I also failed to clarify that some pre-1949 Taiwanese people did indeed join the KMT. Not all KMT members are "mainlanders." Sources used in the making of this episode: Source List Instagram: https://www.instagram.com/wiserworldpodcast/Website (sign up for email newsletter): https://wiserworldpodcast.com/To join the email list, click on the website link, and it will take you there! Song credit: "Heart of Indonesia" by mjmusics 

Are you a good person? Who exactly defines what is good/bad and what is right/wrong? In this episode, Sister Sylvia Bay shares what it means to be good, the tipping point when good turns bad, and how to develop wisdom along the path to happiness. About the guest speaker: Sylvia Bay has been dedicated to the study and practice of Buddha's teaching since 1992. She graduated with a B.A. (Hons) First Class, in Buddhist Studies, from the Buddhist and Pali University of Sri Lanka in 2000 and joined the teaching staff of the Buddhist and Pali College (Singapore) in 2001. Since 2002, Sylvia has also been a regular speaker on Buddhist doctrine, Buddhist history, and the practical application of the Buddha's teachings in daily life, at the invitation of various Buddhist organisations in Singapore. More about Sylvia Bay's work: Website Books Talk - Dhamma is hope Article - Cultivating faith in fearful times Transcript here: link Get connected here: Telegram Instagram YouTube Facebook Useful resources: Paññāsutta - Discourse on wisdom Dhamma roadmap talk - morality and effort TIMESTAMP: (03:07) What is the definition of good? (06:26) Relooking at Righteous Anger (11:08) Who defines what is good and bad? Isn't it subjective? (19:09) Invest in the purity of the act, not the outcome. (19:58) How does one not be invested in the outcome? (26:42) Can desire be good? (29:34) Dealing with moral shame. Am I good enough to be a Buddhist? (36:30) Being patient with oneself (39:46) The four mental states to cultivate (42:59) The difference between having faith in the Buddha and having faith in oneself (46:25) Dealing with our inner critic (49:45) How do you know when to give in to desires and when to not give in? (57:45) What is wisdom? (1:00:45) Actionable steps to grow in wisdom Terms: Jia lat (in Hokkien) - terrible Akusala (in Pali) - Unwholesome Special thanks to Key Seng Tan, and Lynn Leng for sponsoring this podcast. Would you like to support Handful Of Leaves? Email us at info@handfulofleaves.life

How do we know if we're contented or just complacent? How can we strive for success without the stress? Tan Chade Meng, the author of the international best-selling book - search inside yourself, shares with us how. Transcript: Click here Get connected here: Telegram Instagram YouTube Facebook Resources and useful links: Chanda Samadhi Sutta Learn about meditation 30-day meditation challenge Search Inside Yourself Leadership Institute Colloquial terms (in Hokkien) mentioned in the Podcast: Buay tahan: Cannot tolerate Lao Kui: ashamed or embarrassed Lugi: Lose out More on Tan Chade Meng and his books: http://chademeng.com Book - Joy on Demand Book - Search Inside Yourself Timestamps: (03:49): Contentment and Ambition - are they are odds with each other? (06:56): Desires help you in meditation. What?! (10:31): The level 5 leaders have ambition and humility in the same person. (13:12): How to be wholesomely ambitious while being hired. (19:18): Are you complacent or contented? (23:01): Too busy to meditate! How? (30:24): Being too peaceful doesn't allow you to function in the fast-paced world? (35:46): Why is meditation weird? (39:51): Focus on career first, then get spiritual when retire? (41:28): Reflect on your mortality daily. (44:15): Short guided meditation by Tan Chade Meng

Cromwell Wong currently serves as an executive and a board member at IsoTruss®.  Prior to IsoTruss®, he was a part of the team that managed Saudi Aramco's (TADAWUL: 2222) then $140 billion debt portfolio.  Cromwell also assisted in the IPO listing of the company in the local stock exchange.  Before Saudi Aramco, Cromwell worked as a VP for QRI Group, an upstream Oil & Gas consulting and investment firm in Texas.  He started his career working on Wall Street with JPMorgan and Ernst & Young in NYC.  Cromwell, who invests in start-ups, private and publicly companies, and real estate, is a member of the Academy for Creating Enterprise's Ambassador Council, received his MBA from Brigham Young University - Provo and undergraduate degree from BYU - Hawaii.  Cromwell who loves traveling the world with his family, scuba diving, and playing guitar, is fluent in English, Tagalog, and Bikol, and proficient in Hokkien and Mandarin Chinese 

IntroductionA toyol or tuyul is an undead infant that appears in folklore in Southeast Asian countries and especially in Malaysian mythology. It is considered a helper by local shamans who are also known as dukun or bomoh who practice black magic. The primary use of the demon is to steal from the rich like the Babi Ngepet from Indonesian mythology.In villages, people keep these creatures for various reasons, such as to steal or sabotage. With special rituals, toyol can be made to be powerful and lethal. Usually, it is kept in a jar in a dark place until needed or buried. Once the use of the spirit does not exist is is either buried deep or disposed at sea. The curse of an improperly disposed toyol can stay with a family for generations.Physical TraitsThe toyol is often described as a toddler who is almost naked. In modern times, it has been given a similar appearance to that of a goblin with green skin and pointed ears.Other NamesThis spirit is known by different names in various cultures and traditions. The Malay word toyol is tuyul in Indonesian and Javanese. It is known as cohen kroh in Khmer, and kwee kia in Hokkien. In Thai mythology, the male version is called kumarn-thong. Philippine mythology also has a similar creature known as tiyanak.Powers And AbilitiesThey can be used to do tasks for their owners which mainly include stealing, causing harm, helping in gambling, creating a nuisance or in some very rare cases, even murder. The toyol is very attached to the owner and gets stronger every year. The presence of another child in the house incites extreme jealousy in the demon who then tries to harm its owner and the child.The jar is usually passed on from parents to children as a protector of the family. There are many rules that have to be kept in mind while taking care of a toyol which makes it a very difficult task. Although useful in many ways, they are not particularly smart and get distracted easily like small children. Some ways people use to save themselves from this spirit is to have lots of toys and marbles in their house. All valuable are also kept near a mirror as they are scared of their own reflection. Modern Day InfluenceEven today, many families in Malaysia and other parts of South East Asia have a jar with a toyol at home. They are now popular characters in many TV shows and cartoons. The Hollywood movie Gremlins was also loosely based on the rules to take care of this demon baby.

https://notesonfilm1.com/2021/10/23/interview-with-curator-kuan-ping-liu-on-taiwan-film-festival-edinburgh-2021/ The Taiwan Film Festival Edinburgh 2021 runs from 25-31st October. It has live screenings in theatres but it also has a digital component which is free and accessible to all. We interview curator Kuan-ping Liu to discuss the highlights of this year's programme: Archival Films, 8mm home movies, characteristic examples of New Taiwanese Cinema, classic Hokkien-language cinema from the 1960s and a strand of films directed by women.

Sarah Benjamin Huang: “Growing up, everyone called me angmoh all the time throughout my entire childhood and adolescence. Even though I grew up in a house where we spoke Mandarin at home, everyone on the outside was telling me that I was angmoh and I said, “Fine, I'm angmoh, I will leave this place.” I felt that since I'm not wanted here, I'm gonna leave. I feel very Singaporean but I never felt like other people felt that I was Singaporean enough for them. We understand Singaporeanness as Chinese, Malay or Indian. But what if you don't fit neatly into those categories?When I was growing up, people were very obsessed about breaking me down into fractions. My dad said you're not one quarter or one half of something, you're just British, Chinese, Jewish, Peranakan – and you're all those things at the same time. One identity does not diminish another. I do feel British too – there are parts of British culture I identify very strongly with. I can feel that way and I can also feel like a Hokkien girl. I can swear in Hokkien, speak a bit of Malay, eat Peranakan food all at the same time – none of these things diminish the other!”Huang, a content creator, food host, and director of Ethnographica, shares about embracing her Singaporean identity as a person with mixed heritage, plus: *Hakka history and cuisine* *Her hawker research* *Who defines Singaporean food/ Singaporeanness?* *How her mixed heritage is reflected through the food she cooks* *Is globalization and food cultures becoming more homogeneous a good or bad thing?*

 Felicia Tan: “I remember there was this guy who asked for 7 sets of cutlery for a $3 plate of noodles. I told him no and only gave him two sets, and he threatened to sue us. He was very well-dressed, in a suit. People like him might feel a sense of superiority to the hawkers and think ‘I'm giving you my money so you must give me my money's worth'. But they forget that they're only giving $3. You can't expect restaurant-level service at a coffeeshop, at the end of the day. But they have a huge sense of entitlement, I feel, at least for some of the unpleasant customers that I've encountered.”  Tan, a management consultant, shares about her parents' lives as hawkers, plus: *Her parents' transition from hawkers to being retirees* *Her initial impressions of her parents' vocation* *Stereotypes of hawkers* *Thoughts on Pat Law's recount* *Unpleasant customers* *Price increases* *Ways to help hawkers* *Learning how to cook from her parents* *Value of cooking hawker dishes at home* *Her dream Hokkien mee*

Laszlo continues his shallow dive into the Hokkien people with a focus on the history of the Hokkien diaspora who populated many cities and towns throughout Southeast Asia. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back in ancient times once again, this time looking at the homeland of the Hokkien people. As we've done with other groups of Southern Chinese (Teochew, Toi San, Hakka) this time Laszlo provides a broad overview of the people from the south of Fujian Province, the Hokkien or Hoklo people. Before we get into the Qing era diaspora, Laszlo focuses on how Fujian developed from a land populated by Yuè people to a part of Han Dynasty China with a focus on the Minyue Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is Hokkien a language or a dialect? What happened to lead to its demise? And what's being done to help slow the death of Penang Hokkien? Find out in this episode of Language Stories. THE VIDEO Click here to watch the sister video to this podcast episode. (https://youtu.be/a7_0lYQwwG4) To keep track of future episodes in video form, click here to subscribe on YouTube. SUPPORT THE SHOW The best thing you can do right now to support the project is threefold, and if you've ever listened to any podcast before, I'm sure you'll be familiar with what I'm about to say! Subscribe - by subscribing to the Language Stories podcast in your favourite place and YouTube for the sister videos, you're going to keep up with all future episodes. Woop! Review - when it comes to the tech stuff, reviews are pretty important. Reviews help to tell iTunes that people like the podcast, and that helps to raise the profile so that new people can find it easily. Yay! Tell a friend - word of mouth still wins! If you know someone who would love Language Stories, tell them about it. And if they're new to podcasts, walk them through the process to subscribe them. Woohoo! To make it as easy as possible to share the podcast, click here to tweet about episode. SHARE YOUR STORY If you have a Language Story you'd love to share, or if you know someone that does, get in touch. I always love to hear from you! Your feedback helps to shape future episodes so thank you. Special Guests: John Ong & Kee How - Penang Hokkien and Sim Tze Wei - Speak Hokkien Campaign.