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Articles tagged “social enterprise

The Everyday Revolution

Posted on February 7, 2016

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Sophia Tan, SINGAPORE

Founder, Managing Director of The Everyday Revolution

A framed canvas sits in the middle of a room.

Swirls of red, blue, green form a kaleidoscopic flurry; their streaks and splatters made in watercolour beg to tell a story. At first glance, the story is whimsical and jovial, as bright colours often seem to have that effect. Yet, as it goes in the world of art, one must plunge beyond the colourful surface and swim with the undertow to reach the depths of its true meaning.

Is this all too esoteric? We stand in the middle of a museum or a gallery; across a piece of artwork on display waiting to be dissected, judged, loved, understood. Whether it is a portrait made with oil or water, or a figure sculpted by hand, it simply sits there, like a puzzle to be decoded, the worth of its maker’s story waiting to be measured. Yet somehow, we manage—to grasp, to resonate, to connect. And its maker—the artist—succeeds. Beyond the price pegged for its value—or the fame and adulation that may follow—nothing could be more gratifying than the connection made with another being amidst all the layers of our expression.


Imagine the world of a person with autism, a condition defined as a developmental disability that affects how a person communicates with, and relates to, other people, as well as how they make sense of the world around them. Fortunately, more progressive and passionate advocates are emerging and enabling opportunities for people with special needs to be heard, understood, and provided a chance to participate in society.

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Collectible Anthropology

Posted on May 12, 2013

Charisse

Charisse Aquino-Tugade, Philippines

Anthropologist, Cultural Explorer, Founder of The Manila Collectible Co.

Weaving through the cobble-stoned streets of what was once a fortress-city, I wondered how I would be able to spot The Manila Collectible Co (TMCC). Its home, tucked within an enclave of Spanish colonial shops and galleries and sitting behind the iconic Manila Cathedral in Intramuros, is a charming, light-coloured baroque building with a little signage bearing the name, Villa Blanca. I had the privilege of interviewing its founder and owner, Charisse Aquino-Tugade, an anthropologist and cultural travel guide who was happy to share the story behind her shop and advocacy with Open Brief.

What is the story behind The Manila Collectible Co.?

My background is in anthropology and I’ve always been really crazy about our (Filipino) indigenous cultures and history. As a cultural travel guide, I would organise tours and go on expeditions to various parts of the country. The Philippines is so rich with artistry, ingenuity and craftsmanship, all of it deeply rooted in multi-cultures and history. Yet, (I noticed) not everyone really knows much about these artisans and craftsmen and what they create. By everyone, I mean, most of their own fellow countrymen. The reason for this is really geographical accessibility. Being an archipelago with over 7,000 islands, it’s just not easy to get around. Most of these indigenous artisanal communities dwell in obscure, tucked-away corners all over the islands. Their craft is a prime source of livelihood, yet how do they reach their market? How can they put a premium price on their work, when they themselves don’t actually realize the high value of their creations?

I am passionate about indigenous cultures and artisanal crafts, so I felt drawn to create a way — an actual physical space — to bridge this gap and just help make it more accessible. Also, my experience of working with museums and my love for the curative experience have shaped the concept of TCMM—which is a one-stop-shop anthropological gallery of art, crafts, and functional products for daily living, wherein everything is direct from the source and not mass produced for mass consumption.

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Hunger + Survival = Mother of Creativity

Posted on March 19, 2013

Clara

Clara Balaguer, Philippines

Founder, Office of Culture and Design

“To us, art, literature and design are not elitist luxuries. They are useful necessities.”

Clara Lobregat Balaguer is an oddball.

As she meets me for this interview, it’s not so difficult to notice that she does stand out in a crowd than it is to pinpoint why. Yes, she is rather tall compared to the average Filipina; her woven sombrero towering over everyone else makes it easy for me to spot her. She greets me with a smile, full and fiery red. I am relieved; she says she’s been stressed. She has been buried deep in work, which at the moment is in post-production for a film about an active volcano in the Philippines and the displaced indigenous people living around it.

Photo: Office of Culture & Design

Photo: Office of Culture & Design

This is just one of her hands-on projects for her company, the Office of Culture and Design (OCD), which serves as a platform for artists, writers, and designers in the developing world. That description barely sums up the OCD as a leveraging multi-platform. Based on the mixed composition of its projects, its stakeholders and the diverse range of collaborators, the Office of Culture and Design is a constantly fluid, constantly evolving entity engaged in as many diverse forms of mixed media as the opportunities it aims to create and open. And that’s the striking feature of this creative enterprise: whether it’s a book, or an art workshop, or a film documentary, there is—and always will be—a bottom line. Each creative project identifies and directly engages with its stakeholder—real people.

And without an actual label for the OCD (a social enterprise? a creative social enabler? a design thinking firm?), it is pretty much an oddball in the business world. A mixed-breed and ongoing experiment in various aspects, albeit effective—just like its founder.

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