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Friday, May 11, 2012

A smile.

I always wish I would’ve kept better track of Anna’s milestones.  I used to keep them saved in a Word document, but when my laptop crashed, I lost everything.  I’m sorry, Anna.  Don’t let my lack of posts about your early months make you think mommy loves you any less.

Since the Internet is forever, I’m going to keep track of J’s milestones on my blog.  I figure this is the fool-proof way to keep track unless blogger goes out of business.

First milestone…

Granted, he’s not smiling in this picture, he’s looking more like Dr. Evil than anything else, but I promise you he did look at me and smile for at least 20 seconds today.  He was wide awake, too, so I know it wasn’t a gas smile.  I’m looking forward to many more smiles!

Thursday, May 10, 2012

Baby J’s nursery details!

I’ve gotten quite a few emails/messages from people inquiring about the details of J’s nursery.  I know that when I was in the planning stages and using Pinterest day and night, it was always so frustrating when I’d see something I loved and not be able to find any identifying information about where it could be purchased or how it was done.

Let’s get started.

The walls/Paint:

Some of my closest friends came in to town to help me paint the walls and kick start J’s nursery decorating.

Brown paint color: PARK FOUNTAIN (Valspar, Lowes)
White paint color: WEDDING BELLS (Valspar, Lowes)

We kind of winged the paint job since we honestly had no idea what we were doing, but my friend Beth took what she learned at my house through trial and error and created a fantastic tutorial on how to paint beautiful stripes.  Check it out here!

We only painted one main wall in stripes and painted the other walls in Park Fountain.  I think this gives the room great balance and doesn’t overwhelm the small space.  The stripes actually make the room look more spacious!

Due to the layout of the room, it’s hard to get a decent shot):

The bedding/crib details:

The first official purchase I hade for J’s nursery was the crib bedding.  I scoured Craigslist for a few days and came across this entire bedding set for $45.  At the time, it was retailing in stores for $300, but it looks like it’s been discontinued most places or is selling for about $150 now.  It was a fabulous score for me since the bedding was in mint condition and fit perfectly with the modern/funky theme I wanted for the nursery.

I found the set online here.  You may be able to find it somewhere online cheaper than this.  Just type in Dwell Chocolate Dots crib bedding

Here’s the bedding in the nursery:

The crib is a Sorelle Gia crib that I purchased from before Anna was born.  It’s held up very nicely, and is super sturdy and solid.  I highly recommend this line of furniture.

The dresser/changing station:

I’d say the one thing that caused me the most angst with this nursery was the dresser/changing table.  The matching dresser to the crib is still in Anna’s room, so I needed to buy a new one.  Since funds were limited, I wasn’t able to find anything I liked in stores or online, so I improvised and hit the local thrift shops.

I found this beauty in need of some major TLC:

And turned it into this (with Joe’s help, of course):

We decided to keep the original hardware pulls since they were still in great condition and looked fabulous with the paint.

Total cost: About $100 ($70 for the dresser and $30 for paint/supplies)

I’m not sure of the paint color name since it’s not listed on the can top, but here’s a picture of the numbers.

The curtains:

I’d have to say that other than the dresser, the chevron curtains are my favorite feature of the nursery.

Since they’re hand made by my good friend Kent, you won’t be able to find them in stores, but I purchased the fabric from HB FABRICS on Etsy.  It was $8.75/yard, and I needed 7 yards of fabric.  The ceilings in the nursery are 10’ high, and I wanted to hang the curtains about 10” above the top of the window and have them drape.

The artwork:

I was able to DIY the artwork in the nursery based on some images that I found on Etsy.  I love being able to customize them to my exact needs and play around with the design elements a bit.

The original design is from Trendypeas on Etsy.

The original design is from Urban Tickle on Etsy.

The frames are just some old frames that I found around my house that I spray painted with Valspar Exotic Sea.

Image from

The J on the top is just a last minute thing that I decided to do.  I just bought a letter from Michael’s and painted it with some left over paint I had from another project (that just happened to match perfectly).

The little bunting at the bottom was made from the left over scraps that were used to create these letters:

I decided to frame the J at the very last minute and am very pleased with how it turned out.  I was lucky that the J fell smack dab in the center – it was a happy accident that I couldn’t replicate if I tried.

My sweet friend Allison made each of these letters for the nursery using this as inspiration:

Instructions can be found here

My friend Allison is also making the artwork that will hang behind the crib.  She hand-painted all of these canvases, and I couldn’t be more thrilled with how they turned out!  Since my husband is a huge car enthusiast, I wanted to incorporate his love of muscle cars into the nursery.  He already has visions of working on cars with his son (and daughter).

The orbs:
The orb and star cluster is pretty darn amazing (especially in person).

Blue orbs are from the Martha Stewart Crafts Celebrate line – blue accordion lanterns (looks like they’re discontinued or out of stock most places).  I got these from Overstock, but they only have the green set left.   It was about $14 for 6.

The other lanterns (brown and orange) are from  This place had the best prices on orbs, super fast shipping and a great selection of colors.

The star lantern was purchased from Ebay. It was hard finding an aqua star, but this seller came through.

The bird mobile:

IMG_7806I stole idea from and made a few modifications.

I liked the more natural look of the twigs since the brown matches the bedding/crib.  I added the mini-orbs to fill it in since I only ordered 6 birds (I would recommend 8 for this project).  I got the orbs from  The twig circle is from Michael’s.

The birds are from The Fish Box on Etsy.  Melissa was wonderful to work with, and the birds turned out so beautifully!  Plus, her prices are incredible!
The center of the wreath is just a regular pom tissue ball that I made from a YouTube tutorial.

The pillows:

My friend Kent sewed these pillowcases for me and embroidered them.  I couldn’t be happier with the way they turned out!  The aqua dot fabric is from  The striped fabric is from Studio 25 Fabrics on Etsy.  The Chevron is remnant fabric from the curtains from HB Fabrics on Etsy.

The changing pad:
Kent also made two changing pad covers for his changing pad.
The fabric used is Kaufman Minky Cuddle Night Owl Orange/Brown from

This is the other changing pad cover she made me.  I don’t have any photos of it without Joseph on it.  :)

It’s Minky Cuddle Dimple Dot Turquoise from

The rocking chair:
Joe’s grandmother gave us an old antique rocking chair that she purchased a while back.  I love the clean lines of it and think it fits nicely in the nursery.

IMG_8856 Eventually I’d like to add some bookshelves to the wall next to the rocking chair, but I have to wait for Joe to get motivated to do this.  I should just empower myself and learn how to cut wood on my own.  This is the tutorial we will use: $10 ledge shelves

IMG_8853 The beautiful blanket draped on the chair was hand-made by my good friend Alyson.  This is the the pattern – Chevron Baby Blanket pattern.

Aly informed me that this was actually the back side of the throw, but both sides are so beautiful that it was hard for me to tell!

The rugs:
I found the orange rugs at Big Lots.  They were $5 a piece.  What a steal!

This blue rug is from Hobby Lobby for $14.  I love how it is in a star shape and is the exact aqua color I need for the nursery!

The lamp:

I just found a lamp that I’d been storing in the attic and painted the base with the Valspar Exotic Sea spray paint.  I didn’t have to prime or sand the base at all.  It went on evenly and dried very quickly.

The old car on the dresser:
I found this at Hobby Lobby and fell in love with it immediately.  I love the rustic look of it and how it ties in nicely with his nursery.  I think it was about $15, but it was 40% off the day I went.

There are still a few more items that I’ll be adding over time, so check back soon.  Hopefully I’ll have some bookshelves installed in the near future.  I think that will be the finishing touch on the nursery!

Please let me know if you have any other questions about any of the features of the nursery.

Thursday, May 3, 2012

One month under my belt.

Today marks Joseph’s one month  baby-a-versary.  I can’t believe he’s already been here four weeks nor can I believe I’ve managed to survive these four weeks with a newborn and unruly toddler.  Now only did I survive, I conquered.  I am woman, hear me ROAR!

I’d like to say that it was a rough, baby boot-camp experience, but Joseph has gone pretty easy on me, so I really can’t complain or take credit where it’s not due.  My daughter, on the other hand, has been a crazy little bi-polar toddler who has taken me to the depths of insanity and picked me back right before I hit the brink.  Little did I know that my biggest beef in these early weeks would be with my precious, angelic (snort) daughter.

This is a typical day in my house:

Baby wakes up.  Anna wakes up.  Baby is hungry.  Anna wants to hold baby.

”Mommy, please I hold the baby?”
”No, Anna, I have to feed him right now – you can hold him in a few minutes.”
”Mommy, I want to hold the baby NOW!”
”No, Anna, he has to eat.”

Anna turns into Reagan from The Exorcist.  Sans pea soup or peeing on the floor in front of party guests.

The tantrums last for about 10 minutes.  Then I have to hear how she’s no longer my friend, how I’m mean, how she doesn’t want to talk to me anymore.  I have a toddler/tween hybrid.  Not fun.

Oh well, outside of her tantrums, she’s actually a tremendous help.  She’s fetched me many diapers, wipes, burp cloths, Boppy pillows, glasses of water – you name it – she’s my personal gopher.  She also loves her brother more than life itself, so those moments where she’s not throwing a tantrum are quite sweet.

eIMG_8639 eIMG_8647

Yep, she even changes diapers!

IMG_8722 She got to feed him his second bottle even though she was a bit distracted by the tele.

eIMG_8703 Then she helped me give him his first bath.

IMG_8688 She actually got in with him as well and didn’t even splash him once!

IMG_8679 He was a little unsure at first, but he quickly warmed up to the idea of a bath, and now I think he’s a huge fan!

IMG_8704 So fresh and so clean.

IMG_8708 One can never have too much baby feet.  Much like cowbell.

Random photos:

IMG_8724 I finally found a swaddle he can’t break!  My little baby burrito.

eIMG_8739My littlest Sproleja!  Meet the newest member of the Who Dat Nation.  We still love the Saints!

eIMG_8740Yep, those baby legs are ridiculously huge on him.  Special thanks to Liz at Bon Temps Beignet for the adorable onesie and my good friend Mandy at This Girl’s Life for the adorable hat!  Who dat!

Here are Joseph’s 1 month photos (with Anna and by himself):

IMG_8751 They were both thrilled.

eIMG_8777 His tie says 1 month even though it’s hard to make out.  I need to work on this for next month.  I’m just learning how to use my camera.

So, here’s my monthly update about baby J.

Joseph is the sweetest little baby.  I know lots of moms probably say that about their children, but I really mean it.  The only time he fusses at all is when he’s hungry.  He’ll even sit in a dirty diaper without complaining.  I’m like, “DUDE, what the heck?!  Speak up, little one!”  His cry is a little insane, though.  He sounds like an injured bird.  Not a little bird like a blue jay, but a huge, gawking bird like a buzzard.  SQUAAAAK.  Yeah, I like to avoid that at all costs, so when he cries, he promptly gets the boob.

He’s more awake lately which is difficult since there’s not much you can really do with a newborn.  Joe bought him a swing since Anna broke our last one, so I’m counting down the days until I see that beautiful box from Amazon.  I think he’ll enjoy being in a swing vs. his Rock N Play Sleeper thing (which we love, by the way).  He needs some movement to be content.  Since he won’t take a pacifier (EEEEK), and I don’t want to be his human pacifier, I figure a swing is the next best thing.  I appreciate the Attachment Parenting method, but it’s just not for me, so holding him all day is not an option.

I am kicking ass and taking names when it comes to breastfeeding.  Actually, baby Joe is kicking ass since he’s a perfect little latcher.  I’ve even nursed in public a few times, well, mainly in my car, but I’m definitely feeling more empowered every single day.  I did have a bit of a bad experience the other day at my OB check-up.  As soon as I arrived there (with both kids in tow, no less), J started with his buzzard cry, so I had no choice but to give him the boob.  I went into the bathroom to get situated and cover myself with my hooter hider.  When I came back out in the waiting room and sat down, this older couple sitting across from me promptly got up and switched seats to the other side of the waiting room facing away from me.  It made me feel really embarrassed and like I’d offended them.

I was not exposed in any way at all as I was covered with a huge nursing cover.  However, after talking it over with my friends who are all pro-BFing, I realized it was their ignorance to be offended by a natural process, so screw ‘em!

I’ve tried pumping in between sessions, but I guess at this point I’m making just enough to keep him satisfied and anything over that depletes my supply for his next feeding.  I’ve pumped only a few ounces for the freezer, and every time I do that, he cluster feeds for the rest of the day.  I don’t think I’ll ever build much of a freezer stash, so I may have to supplement with formula for a few days once I go back to work until I can pump enough for each day.

I’m just glad that he’s able to go between the bottle and boob w/ no issues.  He’s had three bottles so far and has taken them with no problems and nursed shortly thereafter with no problems.  I waited until he was almost 3.5 weeks before I offered his first bottle.  It’s just so much easier to offer the boob and not worry about fixing a bottle that I was in no hurry and still wish I didn’t ever have to give him a bottle just because I’m so lazy.

He’s definitely more awake these days.  I was concerned about his sleepiness in the beginning, but now he’s definitely coming into his own in the awake department.  He’ll go about 3 – 4 hours in between feedings at night and about 2 – 3 hours during the day.  When he’s done feeding, instead of going right back to sleep, he’ll usually just look around for a while or fuss again and want more.  I’m still pretty lucky that he sleeps for 3 hours spurts during the night.  He even went 5 hours one night!  Let’s hope that he’ll go that route again soon.

Joseph’s 1 month appointment is tomorrow.  I’ll post back his stats once I get them, but I know he’s definitely gaining weight.

He still has eye gunk, so I need to find out why it’s not going away and what the heck it is. It may be a clogged duct like Anna had. I’m not sure.

His belly button stump fell off at exactly 3 weeks. I was so glad to see that nasty thing go away!

His 1 month appointment went very well.  He’s had some spit-up issues (think Exorcist projectile vomiting episodes) a few times, but his Pedi assured me that as long as it’s not a daily occurrence (which it isn’t, thankfully), that it’s probably just reflux.  He doesn’t act like he’s in pain when he has the episodes, so I’m going to hold off on any reflux medications until absolutely necessary.

The eye gunk is a clogged duct.  Anna had the same problem.  These usually resolve in a few months, so I’m not too concerned.  I’m supposed to massage the corner of his eye three times/day to help release the tears.

Head: 14 3/4 (50th%)
Weight: 9 lbs. 8 oz. (50th%) – this is a gain of nearly 2 lbs. in two weeks!
Length: 22 1/4” (75th – 90th%) – tall just like mama!

I managed to bring both kids to Target by myself.  My mission was to buy cat food, but I walked out $75 poorer and almost forgot the cat food.  It was a nice experience because Anna was well behaved, and Joseph slept the whole time.  I was absolutely terrified to make this outing on my own, but I knew I’d have to do it eventually, and I had cabin fever and was desperate for some Target popcorn.

Now that I’ve broken the “mom of two who brings her kids out in public” fear, I feel like I’m a real mom of two now.  It’s certainly not easy getting to places on time with two kids, but I did manage to get to my OB appointment FIVE minutes early!  I was so proud.

I covered this at the top of my blog. :)

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LINKS Suicide Prevention

Suicide by the Numbers
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LINKS Suicide Prevention
Suicide by the Numbers
Suicides in Onondaga County by Gender and Age...

While males die by suicide 3.5 times more often than females, females attempt suicide 3 times more often than males.

Suicide deaths by gender in Onondaga County

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Suicide deaths by age in Onondaga County

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Session Teisho

By Tarrant, John, Roshi

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Title: Session Teisho
Author: Tarrant, John, Roshi
Language: English
Subject: Religion, Buddhism, Buddhism and literature
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Excerpt: Whoever would uphold the teaching of our school must be brave spirited with the ability to kill someone without blinking an eye. Only such a person can become a Buddha right where they stand. Therefore, such a one's illumination and function are simultaneous. Locking up and opening out are equal. Principle and phenomena are not two and he or she practices both the provisional and the real. Letting go of the primary she sets up the gate of the secondary meaning. If she were to cut off all complications straight away, it would be impossible for late coming students of elementary capabilities to find a resting place. It was this way yesterday. The matter couldn't be avoided. It is this way today, too. Faults and errors fill the skies. Still, the point is as a clear-eyed person, she can't be fooled one bit. Without clear eyes lying in the mouth of a tiger one cannot avoid losing body and life. As a test I cite this. Look!

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Happy 2018! With the New Year comes new goals, lists of resolutions and of course exciting and not so exciting health trends and fads. Here are our predictions for the top five health trends to follow this year. Activated Charcoal Now available as more than just an Instagram-able teeth whitening product. Ah, yes the lovely chalky and dusty… Read more »

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Ah, January! The month of ambitions, resolutions, and of course, ambitious resolutions. It’s the month after we all survived (or relished) a steadfast barrage of drinks and food, to commit to a healthier lifestyle; what could be more virtuous than a nice, hearty bowl of homemade soup? If you’ve been subsisting on leftovers, take-out, butter… Read more »

Round up: This Week in T.O.

Every Monday, #OnTheFourthFloor rounds up the events to check out this week, keeping you in the loop with what’s going on in the city. Monday, January 8: The Ossington Comedy Presents: Free Pizza for 2018 Baby! Winter can make the Monday blues extra blue, so why not try to shake it off with a little comic relief. Get a… Read more »

Round-up: This week in TO

Every Monday, #OnTheFourthFloor rounds up of events to check out and everything else you need to stay-in-the loop with what’s going on in the city. Tuesday Nov. 21: Grease The Musical On Tuesday night, You’re the one that I want to reminisce with over those Summer Nights. Grease the Musical is in Toronto for a limited… Read more »

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Notes adapted from Unesco Course on understanding open access :

In an open access (OA) world, much importance has been given to using open source tools, open access resources and open solutions to engage authors and researchers in collaborative research, peer-to-peer sharing of scholarly information and collaborative evaluation of scholars’ works. On the other hand, exponential growth of scientific literature also has led to rapid disappearance of nascent literature before it actually gets noticed by the scientific communities. No single database can capture this over-growing scientific literature. Several data mining tools are probably required to keep abreast with quantum of emerging literature. In this Unit, various tools and techniques have been discussed in details to help the library and information professionals in strengthening their efforts in enhancing scientific productivity, visibility, reputation, and impact of research works of their affiliated scientific researchers. This Unit briefly discusses various conventional citation-based indicators available for assessing scientific productivity of authors, journals and institutions. This Unit also identifies emerging indicators such as h-index, i10-index, Eigenfactor score, article influence score and source normalized impact per paper. The social webs, available to the researchers’ communities in addition to any other groups of citizens, help the researchers in disseminating their produced or contributed knowledge to global communities. Much you are active in social media, more you have chances to get noticed by fellow researchers and possible research collaborators. Many personalized web-based services are now increasingly made available targeting global researchers’ communities, helping them to enhance their social media presence and visibility. These factors influence the development of new metrics called article level metrics or altmetrics. Finally, this Unit also briefly discusses the emergence of the open citation databases for text mining and data mining of open access literature.

Commonly Used Terms for Assessing Research Impacts:

1.Bibliometrics is a set of methods to quantitatively analyse academic literature and scholarly communications.

2.Informetrics is the study of quantitative aspects of information. This includes the production, dissemination, and use of all forms of information, regardless of its form or origin.

3.Scientometrics is the study of quantitative features and characteristics of science, scientific research and scholarly communications.

4.Webometrics is the study of quantitative features, characteristics, structure and usage patterns of the worldwide web, its hyperlinks and internet resources.

5.Cybermetrics is an alternative term for Webometrics to measure the World Wide Web, cyber media, web resources and hyperlinks.

6.Librametrics is a set of methods to quantitatively analyse availability of documents in libraries, their usage and impact of library services to its user community.

6.Patentometrics is a set of methods to quantitatively analyse patent databases, patent citations and their usage patterns.

7.Altmetrics is a new metrics proposed as an alternative to the widely used journal impact factor and personal citation indices like the h-index. The term altmetrics was proposed in 2010, as a generalization of article level metrics, and has its roots in the twitter #altmetrics hashtag. Article Level Metrics (ALM) Article level metrics is an alternative term for Altmetrics.

Applications of Scientometrics and Bibliometrics in Research Assessment :

In the last sixty years, evaluation of public funded research has been carried out globally on a regular basis for performance measurement of different actors of scientific research. Most of the citation databases and citation analysis tools available in today’s world have functionalities to instantly generate reports and scientometric profile of a scientist, an institution, a collaborative research group, a country, or a journal. Some of the popular applications of scientometrics and bibliometrics listed below can use report generator tools available with citation-based products and services.

 For Institution/ Collaborative Research Group: mapping of collaborations, top collaborating institutions, top collaborating countries, collaborating with public vs. private institutions, highly cited papers, highly cited authors, top contributing scientists, top publishing journals, scientists with top h-index, top subject categories or research domains, percentage of cited vs. uncited papers, percentage of self-citations, publishing in OA vs. subscription-based journals, comparative study of two or more institutions in a region/ country.

 For a scientist: mapping of collaborations, collaborating institutions, collaborating countries, mapping of co-authors, highly cited papers, top publishing journals, percentage of cited vs. uncited papers, percentage of self-citations, author-level indicators such as h-index, i10-index, etc.

For a country: top contributing institutions, top contributing cities, top contributing states, top funding agencies supporting research, top affiliating apex bodies, mapping of collaborations, top collaborating countries, top collaborating institutions, top contributing scientists, top publishing journals, top subject categories or research domains, percentage of cited vs. uncited papers, percentage of self-citations, highly cited papers, highly cited authors, top scientists with h-index, publishing by public vs. private institutions, publishing in OA vs. subscription-based journals, comparative study of two or more countries in a region or globally.

For a journal: highly cited papers, highly cited authors, percentage of cited vs. uncited papers, percentage of self-citations, top research domains, cited half-life vs. citing half-life, top contributing institutions, top contributing cities, top contributing countries, most downloaded papers, most shared papers, and highly ranked journals based on citation-based indicators.

To read more on the indicators and understanding them better please follow the

Course of openaccess by Unesco chapter Introduction to open access @

A Very Brief Introduction to Open Access By Peter Suber

Open-access (OA) literature is digital, online, free of charge, and free of most copyright and licensing restrictions. What makes it possible is the internet and the consent of the author or copyright-holder.

In most fields, scholarly journals do not pay authors, who can therefore consent to OA without losing revenue. In this respect scholars and scientists are very differently situated from most musicians and movie-makers, and controversies about OA to music and movies do not carry over to research literature.

OA is entirely compatible with peer review, and all the major OA initiatives for scientific and scholarly literature insist on its importance. Just as authors of journal articles donate their labor, so do most journal editors and referees participating in peer review.

OA literature is not free to produce, even if it is less expensive to produce than conventionally published literature. The question is not whether scholarly literature can be made costless, but whether there are better ways to pay the bills than by charging readers and creating access barriers. Business models for paying the bills depend on how OA is delivered.

There are two primary vehicles for delivering OA to research articles: OA journals and OA archives or repositories.

OA archives or repositories do not perform peer review, but simply make their contents freely available to the world. They may contain unrefereed preprints, refereed postprints, or both. Archives may belong to institutions, such as universities and laboratories, or disciplines, such as physics and economics. Authors may archive their preprints without anyone else’s permission, and a majority of journals already permit authors to archive their postprints. When archives comply with the metadata harvesting protocol of the Open Archives Initiative, then they are interoperable and users can find their contents without knowing which archives exist, where they are located, or what they contain. There is now open-source software for building and maintaining OAI-compliant archives and worldwide momentum for using it.
OA journals perform peer review and then make the approved contents freely available to the world. Their expenses consist of peer review, manuscript preparation, and server space. OA journals pay their bills very much the way broadcast television and radio stations do: those with an interest in disseminating the content pay the production costs upfront so that access can be free of charge for everyone with the right equipment. Sometimes this means that journals have a subsidy from the hosting university or professional society. Sometimes it means that journals charge a processing fee on accepted articles, to be paid by the author or the author’s sponsor (employer, funding agency). OA journals that charge processing fees usually waive them in cases of economic hardship. OA journals with institutional subsidies tend to charge no processing fees. OA journals can get by on lower subsidies or fees if they have income from other publications, advertising, priced add-ons, or auxiliary services. Some institutions and consortia arrange fee discounts. Some OA publishers waive the fee for all researchers affiliated with institutions that have purchased an annual membership. There’s a lot of room for creativity in finding ways to pay the costs of a peer-reviewed OA journal, and we’re far from having exhausted our cleverness and imagination.
For a longer introduction, with live links for further reading, see my Open Access

Peter Suber
Director, Harvard Office for Scholarly Communication
Director, Harvard Open Access Project
Faculty Fellow, Berkman Center for Internet & Society
Senior Researcher, Scholarly Publishing and Academic Resources Coalition
Research Professor of Philosophy, Earlham College

Follow the orginal article @

What are Open Educational Resources

There is no one, standard definition of Open Educational Resources. However, the following broad definition of OERs from OER Commons seems to be generally accepted by the community:

Open Educational Resources (OER) are teaching and learning materials that are freely available online for everyone to use, whether you are an instructor, student or self-learner. Examples of OER include: full courses, course modules, syllabi, lectures, homework assignments, quizzes, lab and classroom activities, pedagogical materials, games, simulations, and many more resources contained in digital media collections from around the world.

OERs exist within a wider ‘Open’ movement and context, explored below.

The Open Movement

A range of ‘Open’ philosophies and models have emerged during the 20th Century as a result of several different drivers and motivations – including sharing freely, preventing duplication, avoiding restrictive  (Copyright) practices, promoting economic efficiencies and improving access to wide groups of stakeholders. Many of these have been driven by and created by communities that recognise the benefits to themselves, and sometimes to wider groups. Some of these are listed below:

  • Open source (relating to business and technology)
  • Open source software
  • Open source hardware
  • Open standards
  • Open access (research)
  • Open design
  • Open knowledge
  • Open data
  • Open content
  • Open courseware
  • Open educational resources
  • Open educational practice

Several of these ‘movements’ or ‘philosophies’ have been significant within the education community both in terms of research and learning & teaching (particularly educational technology). Whilst it is widely expected that sharing and openness would bring benefits to some stakeholders in the educational community, traditional cultures and practices, managerial approaches and processes, and perceived legal complexities have been identified as barriers to sharing both within and across institutions. (refs: CD LOR, TRUST DR, Sharing e-learning content, Good Intentions report)

Whilst the terms ‘Open content’ and ‘Open courseware’ are sometimes used to mean the wide range of resources to support learning and teaching, one is fairly broad and the other very specific. We have chosen to use the term Open Educational Resources (OER) as this relates to resources that are specifically licenced to be used and re-used in an educational context.

What are educational resources?

Whilst purely informational content has a significant role in learning and teaching, it is helpful to consider learning resources by their levels of granularity and to focus on the degree to which information content is embedded within a learning activity:

  • Digital assets – normally a single file (e.g. an image, video or audio clip), sometimes called a ‘raw media asset’;
  • Information objects – a structured aggregation of digital assets, designed purely to present information;
  • Learning objects – an aggregation of one or more digital assets which represents an educationally meaningful stand-alone unit;
  • Learning activities – tasks involving interactions with information to attain a specific learning outcome;
  • Learning design – structured sequences of information and activities to promote learning.

(adapted from Littlejohn, A., Falconer, I. and McGill, L. (2008) ‘Characterising effective eLearning resources’. Computers & Education, 50 (3), pp. 757-771.)

What are open educational resources?

The following definitions and examples are taken from a paper prepared by Li Yuan at JISC CETIS in 2008 concerning the state of open educational resources internationally. This well-received paper can be accessed from the CETIS website.

The term Open Educational Resources (OER) was first introduced at a conference hosted by UNESCO in 2000 and was promoted in the context of providing free access to educational resources on a global scale. As mentioned above, there is no authoritatively accredited definition for the term OER at present, with the OECD preferring, ‘digitised materials offered freely and openly for educators, students and self-learners to use and reuse for teaching, learning and research’ (OECD, 2007). Stephen Downes presents a useful overview of what Open Educational Resources are in Open Education: Projects and Potential.

“Engagement with OER can be light touch. New staff should be encouraged to source open materials when creating new educational materials (from CC resources or other OER), and to fully reference all other assets in their teaching materials. An academic’s own digital assets such as images, pod casts and video can be released under a CC licence to web 2.0.” GEES Project final report

OER initiatives aspire to provide open access to high-quality education resources on a global scale. From large institution-based or institution-supported initiatives to numerous small-scale activities, the number of OER related programmes and projects has been growing quickly within the past few years.

According to OECD in 2007, there are materials from more than 3000 open access courses (open courseware) currently available from over 300 universities worldwide:

  • In the United States resources from thousands of courses have been made available by university-based projects, such as MIT OpenCourseWare and Rice University’s Connexions project: (, )

  • In China, materials from 750 courses have been made available by 222 university members of the China Open Resources for Education (CORE) consortium.(

  • In Japan, resources from more than 400 courses have been made available by the19 member universities of the Japanese OCW Consortium. (

  • In France, 800 educational resources from around 100 teaching units have been made available by the 11 member universities of the ParisTech OCW project. (

  • In Ireland, universities received government funding to build open access institutional repositories and to develop a federated harvesting and discovery service via a national portal. It is intended that this collaboration will be expanded to embrace all Irish research institutions. (

  • And in the UK, the Open University has released a range of its distance learning materials via the OpenLearn project (, and over 80 UKOER projects have released many resources (via Jorum) which are used to support teaching in institutions and across a range of subject areas.

For a more visual explanation of Open Educational Resources look at Stephen Downes’ presentation on Slideshare.

For more /Original article,Please read at the link below :

The Twelfth International Conference on Open Repositories, OR2017,Call for Proposals

Call for Proposals

Call for Proposals

The Twelfth International Conference on Open Repositories, OR2017, will be held on June 26th-30th, 2017 in Brisbane, Australia. The organisers are pleased to issue this call for contributions to the program, with submissions due by 20 November 2016.

In 2017 the Open Repositories conference returns to Australia, where the Open Repositories journey started in Sydney 2006. Repositories have come a long way in the intervening years, having emerged as critical systems for managing, preserving and sharing intellectual, artistic and scientific output. As such, repositories have found a firm placing within scholarly processes and are becoming an integral vehicle to moving towards true Open Science. The OR community has established itself as an important contributor in this space, something we would like to emphasise in Brisbane by promoting the community’s ability to always stay at the forefront of development of both infrastructure and good practice.

For OR2017 the theme is Open : Innovation | Knowledge | Repositories, aiming to reflect how the Open Repository community continues to be at the forefront of developments, sharing knowledge, and working as an enabler of scholarship and open science. OR2017 will provide an opportunity to:

  • showcase innovative repository services as well as innovations in functionality and user experience of repository software;
  • introduce innovative uses of repositories, for example to accommodate new types of content, serve new groups of users, or achieve new goals;
  • analyse drivers for repository innovation, including evolving technologies, changes in scholarly communication processes, as well as policies around open access to research outputs at institutional, national and international levels; and
  • explore and highlight innovation in the wider ecosystem around repositories.

We welcome proposals on these ideas, but also on other theoretical, practical, technical, organisational or administrative topics related to repositories. Submissions that demonstrate original and repository-related work outside of these themes will be considered, but preference will be given to submissions which address them. We are particularly interested in the following Themes (Please check the wesbite for detailed description on themes).

Readers of this call for proposals who are familiar with the OR conference series will notice that it is issued somewhat earlier than in previous years. This is done to benefit international participants, aiming to provide earlier feedback on submissions in order to leave enough time in advance of the conference to make travel arrangements for a journey to Australia.

  • By 30 September 2016: Submission system opens
  • 20 November 2016: Deadline for submissions
  • 14 December 2016: Deadline for Scholarship Programme applications
  • 03 February 2017: Submitters notified of acceptance (except Interest Groups)
  • 03 February 2017: Registration opens
  • 10 February 2017: Submitters notified of acceptance to Interest Groups
  • 10 February 2017: Scholarship Programme winners notified
  • 21 April 2017: All presenters are encouraged to register by the close of Early Bird, 21 April 2017
  • 26-30 June 2017: OR2017 conference

Accepted proposals in all categories will be made available through the conference’s web site, and later they and associated materials will be made available in an open repository. Some conference sessions may be live streamed or recorded, then made publicly available.

We expect that proposals for full presentations or panels will be two to four pages (see below for Proposal Templates). Successful submissions to the general track in past years have typically described work relevant to a wide audience and applicable beyond a single software system. Panels in the general track are expected to include at least some degree of diversity in viewpoints and personal background of the panelists. In general, sessions in this track will have three full presentations; panels may take an entire session or may be combined with a presentation.

Relevant proposals unsuccessful in the general track may be considered for inclusion, as appropriate, as an Interest Group presentation, developer track presentation, poster or 24×7 presentation.

The opportunity to engage with and learn more about the work of relevant communities of interest is a key element of Open Repositories. One to two page proposals are invited for presentations or panels that focus on the work of such communities, traditionally DSpace, EPrints, and Fedora, describing novel experiences or developments in the construction and use of repositories involving issues specific to these technical platforms. Further information about applications for additional Interest Groups and guidance on submissions will be forthcoming.

24×7 presentations are 7-minute presentations comprising no more than 24 slides. Proposals for 24×7 presentations should be one to two pages (see below for Proposal Templates). Similar to Pecha Kuchas or Lightning Talks, these 24×7 presentations will be grouped into blocks based on conference themes, with each block followed by a moderated discussion / question and answer session involving the audience and whole block of presenters. This format will provide conference goers with a fast-paced survey of like work across many institutions, and presenters the chance to disseminate their work in more depth and context than a traditional poster.

We invite one-page proposals for posters that showcase current work (see below for Proposal Templates). OR2017 will feature digital rather than physical posters. Posters will be on display throughout the conference. Instructions for preparing the digital posters will be distributed to authors of accepted poster proposals prior to the conference. More information regarding digital posters can be found here.

Each year a significant proportion of the delegates at Open Repositories are software developers who work on repository software or related services. OR2017 will feature a Developer Track that will provide a focus for showcasing work and exchanging ideas.

Building on the success of the Developer Track at OR2015 and OR2016, where we encouraged live hacking and audience participation, we invite members of the technical community to share the features, systems, tools and best practices that are important to you. Presentations can be as informal as you like, but once again we encourage live demonstrations, tours of code repositories, examples of cool features and the unique viewpoints that so many members of our community possess. Submissions should take the form of a title and a brief outline of what will be shared with the community.

Developers are also encouraged to contribute to the other tracks.

OR2017 will also again include the popular Ideas Challenge. Taking part in this competition provides an opportunity to take an active role in repository innovation, in collaboration with your peers and in pursuit of prizes. The Ideas Challenge is open to all conference attendees – developers, non-developers, and everyone in between. Further details and guidance on the Ideas Challenge will be forthcoming.

One to two-page proposals for workshops and tutorials addressing theoretical or practical issues around digital repositories are welcomed. See below for Proposal Templates; please address the following in your proposal:

  • The subject of the event and what knowledge you intend to convey
  • Length of session (e.g., 2 hours, half a day or a whole day)
  • A brief statement on the learning outcomes from the session
  • The target audience for your session and how many attendees you plan to accommodate
  • Technology and facility requirements
  • Any other supplies or support required
  • Anything else you believe is pertinent to carrying out the session

The conference system is now open for submissions. PDF format is preferred.

All submissions will be peer reviewed and evaluated according to the criteria outlined in the call for proposals, including quality of content, significance, originality, and thematic fit.

The OR2017 Code of Conduct and Anti-Harrassment Policy are available at

OR2017 will again run a Scholarship Programme which will enable us to provide support for a small number of full registered places (including the poster reception and conference dinner) for the conference in Brisbane. The programme is open to librarians, repository managers, developers and researchers in digital libraries and related fields. Applicants submitting a proposal for the conference will be given priority consideration for funding. Please note that the programme does not cover costs such as accommodation, travel and subsistence. It is anticipated that the applicant’s home institution will provide financial support to supplement the OR Scholarship Award. Full details and an application form will shortly be available on the conference website. Please click here to subscribe to our mailing list for further updates.

  • Scholarship Programme Application Deadline: 14 December 2016
  • Successful Applicants Notified: 10 February 2017

For the templates and also more on particpation please check and also keep us posted your updates.

Open Access in Perspective

stephenpinfield_300wThe “Open Access in Action” series has explored many but certainly not all the facets of this highly disruptive publishing trend. To put the issues in perspective, and to focus on the resulting changes to the role of academic and research librarians, we interviewed Dr. Stephen Pinfield, Professor of Information Services Management at The University of Sheffield.

Professor Pinfield joined Sheffield in 2012. Before that, he was a self-described practitioner of academic information science, serving as CIO for the University of Nottingham. In 2001, he helped set up the U.K.’s first open access institutional repository, followed by the SHERPA project in 2002. In 2006 he set up at Nottingham the first UK institutional central fund for paying APCs, and has authored open access policy papers for The Russell Group. Commenting on his role as an academic with a technical background, he described his research as “at the interface of practice and theory.”

This feature article is part of our Open Access in Action series, sponsored by Dove Press, which tracks the evolution of important open access (OA) issues through a library lens by presenting regular original articles, video interviews, news, and perspectives. To learn more about how librarians like you are driving practice across the lifestyle of open access, be sure to visit our Open Access in Action hub page.

Library Journal: What are the important differences between those who implement and support open access systems and the faculty members and researchers who use them?

Professor Pinfield: Faculty shouldn’t have to be experts in the mechanics of scholarly communication. They should be carrying out their research—communicating it in ways that are appropriate for their scholarly community and beyond. However, those who provide support, like libraries and IT services, have to understand the research cycle—the processes that researchers go through. Twenty or thirty years ago, librarians had to understand a narrow aspect of scholarly communications: negotiating subscriptions with publishers, storing and preserving collections, and making them available to researchers. Now, librarians need to understand and engage with a much wider range of activities in the research process, in order to provide credible services.

LJ: What are some examples?

Pinfield: Librarians can intervene earlier, encouraging researchers to deposit at the preprint stage, for example. They need to have a clear understanding of the publishing process, and how it may vary from discipline to discipline. They can design workflows that fit the way faculty works—not assume that all faculty have the same requirements and motivations for publishing their research.

Many repositories are designed in isolation from what faculty actually do or care about, creating an unnecessary burden. Librarians have to understand their users, so they can incentivize faculty [by emphasizing] the importance of a deposit [to] increasing usage and citations, for example. Then they can design services to demonstrate that.

LJ: In the article series, we discussed various open access funding models, APCs, Green versus Gold, and the prospect of “flipping” subscription journals to open access. Can you comment on where we are now—and where we’re likely to go?

Pinfield: This is a challenge. If you look system-wide, there’s enough money to pay for APCs—if you look at the whole universe of research funding. The key challenge, of course, is how that happens, and how it affects individual players. The European focus has been on system-wide shifts, mainly because negotiations with publishers happens more at a national level. The U.S. is a very different environment. It’s far larger and more fragmented, so there’s a tendency for large institutions to resist the increased cost implications of APCs. I think that changes will come as we start thinking of the bigger picture for research as a whole. The recent Pay It Forward study points to the possibility of research funders shouldering more of the cost. The benefit of an APC model is that it scales with the funding.

LJ: What is the main resistance to this type of change?

Pinfield: I think the resistance to open access is more on an operational level than it is on principle. When I first became involved in the open access movement, I naively thought we just had to persuade academics it was a good idea and they’d just start doing it. What we didn’t understand then was the level of inertia and vested interests there are in the system. So, we started adding conversations with policy makers and funding entities, who in turn began encouraging more open access behaviors in institutions.

LJ: To what extent is open access adoption driven by differences in academic discipline—such as STEM or the humanities?

Pinfield: Differences in disciplines should not be underestimated. Even within STEM, some disciplines gravitate towards the Green model, while others—like health sciences—tend to be Gold. (That’s not to say that Green and Gold aren’t both valuable. I see them as complementary and interactive in many cases.) In the humanities, there are new models for monographs and open access, so what we’re seeing in STEM may not apply. Martin Eve’s recent book, Open Access and the Humanities, is a good place to start there.

LJ: Let’s get back to librarians. How would you advise them when it comes to open access?

Pinfield: I think these are exciting times for information professionals. It’s an opportunity to be engaged to a much greater degree. As other opportunities for librarians diminish—like the importance of managing large print collections—this is an opportunity to stake out new territory. With open access, we’re now at the stage of how we deliver it, not whether we do so. This puts the focus on the library community.

We’re also thinking about it in a much broader way—in terms of open science and open data, not just open access journal publishing. Becoming more conversant with that sort of strategic vision is becoming increasingly important. Having a professional confidence in these skills will revitalize the library profession. It’s not a narrow, diminishing path, but a wide one.

LJ: Could this be seen as a bulwark against library funding cuts?

Pinfield: Potentially, yes. Collections are still important, but there’s also more emphasis now on delivering services. You can see this now in how libraries are designed—not just as a place to house collections but also as spaces for collaboration, use of technology, and creative activity. That’s all to the good, but it will require agility on the part of the library profession.

Originally posted at

This OA Week “Open in Action “, become a ScienceOpen Activist!

Become a ScienceOpen Activist and change the world of scientific publishing! Apply to become part of our think-tank and our voice in the community.

Scholarly Publishing and science are frustratingly slow when it comes to change. Newton’s lab-books from 300 years ago probably look similar to what PhD-students still scribble in today!

Old habits die hard in research. Other than social media, scholarly communication is still largely focused on publication in journals where anonymous peer review delays the liberation of newly gained knowledge by months, if not even years.

We are still using systems that have operated for decades and centuries. But do they really still work? Research studies can be irreproducible; billions of public funding lock up knowledge behind pay walls and embargos became a bargaining chip between authors and their publishers.

Many people know this. The Open Access movement has provided a practical way forwards and has moved way beyond simply portraying an idealist view of the world to demonstrating it. But why isn’t Open Science our reality right now?

The ScienceOpen answer: we need more activists!

We need your help: Apply now to become a ScienceOpen Activist:

World famous ScienceOPENer
World famous ScienceOPENer
  • You know best what needs to be done: tell us about Open Science discussions at your institution.
  • Give us your ideas on how to improve ScienceOpen: be the first to test implemented features on ScienceOpen
  • Join a community of doers: through frequent Webinars and an Activist camp in Berlin in December you will get to know like-minded people
  • We will give you the right tools: activists receive items such as stickers and some ScienceOPENers (inspired by this viral video!)
  • Create a bigger network: ScienceOpen has been around for over a year, so join the platform and get to know the network

Regardless of whether you are an early career researcher or a senior scientist, have a background in natural sciences or study languages, work as a librarian or for a funding agency, you can apply here. Please also share why you are enthusiastic about Open Science.

Let’s take it to the next level. And make change happen.

Viva La Revolucion!

Originally posted at


text:
Perspectives brings together different voices on a topic. In this post Open Brunei talks with Low Kok Wai, Lecturer in Drama & Theatre Studies,  Faculty of Arts at Social Science, Universiti Brunei Darussalam; Abdul Zainidi whose films “Bread Dream” and “Teluki” were screened at the Cannes Festival; and Aa’qiil Ahmad a performer who divides his time between 1stopbrunei, Seeds and Relentless Entertainment.

Video Interview: Low Kok Wai

When I first came, I was told when you stage a performance  you invite people and back them to come. But I said, “Why not try and sell tickets at $2?” and then my boss said, “You can’t get people to come for 50 cents!” but I said let’s try and then we sold 280 tickets. Now two and a half years on, there isn’t a show that isn’t ticketed.

Low Kok Wai, Lecturer in Drama & Theatre Studies at Faculty of Arts & Social Sciences, Universiti Brunei Darussalam describes his experience of working with Bruneian students, the need for a dedicated performing space and the importance of theatre in marking the identity of a people.

AbdulZainidi_PicInterview: Abdul Zainidi

In an email correspondence with Open Brunei Abdul Zainidi explains BruRealism, the Youtube series “Brunei In Paris” and the performing arts industry in Brunei.

BruRealism is a concept that I created which combines Bruneian elements with surrealist art, it mixes the strange with the ordinary.

For example an element of Bruneian culture such as the “buluh” (bamboo) could be interpreted as a wooden straw cannonball or as a flower pot inversed. A Bruneian cake, the “penyaram” (deep-fried pastry) can be seen as a flying saucer.

I like to play with objects and see them in a strange light. It’s these odd interpretations that gives BruRealism projects a quirky original edge.

In my short films, as well as, my plays such as “The Boor” and “The Langsat”, the motif of BruRealism has always been prevalent. Very often in both my short films and theatre production there has always been a motif of food, I play around with this in “Bread Dream” and most recently “Teluki”.

Brunei In Paris (BIP)

In my underground – and I emphasize this – artistically absurd work web series “Brunei In Paris” starring the Bruneian clown nomad BIP, who was partly inspired from Marcel Marceau’s character also named Bip the Clown. I was partly inspired to concoct a similar personage and make it Bruneian.

Coming from a theatrical background and studying mime I developed BIP into a more absurd Bruneian character wandering Paris “lost” and “hilang”.

BIP maintains his Bruneian identity by using Bruneian Malay whilst singing “Balik Kampung”, this is in reference to returning to Brunei. Along the way – what makes this absurd – are his encounters with Malay speaking French folks which in turn renders the situations in Brunei In Paris even more absurd.

Brunei In Paris

Brunei Is Paris is not a linear based series. Each episode is different, much like the animated MTV series Aeon Flux. I grew up loving the cult show by Peter Chung and was intrigued by the main character.

Each episode in Aeon Flux showed a different life. Aeon would die in one episode and be alive in the next. BIP’s universe it follows no linear chronological pattern. He can be murdered in one episode such as “Halloween Special” and come back as a zombie in “Zombie Walk Special” and even have a coffee with Macbeth in “BIP MacBeth”.

BIP is a constant component in my absurd universe of Bruneian, French and philosophical basket of fruits. I am not sure which direction BIP can take, it can go from one extreme to another. Journeying through words and situations which is what I feel I am tasked to do as a writer.

The objective of BIP is for others around the world to hear the Bruneian language with French and English, and maybe to see the strangeness and beauty in it. Patriotically I use Bruneian Malay as a paintbrush to colour my stage and short films. Brunei is not my backbone but more the “lungs” to my work.

Cinema is more centrifugal, theatre is more powerful

Theatre is an expression which is more outward based and externally spoken whereas cinema is more intimate and quietly relayed to the camera. Think of it as a hand that you project outwards, the palm facing out is theatre and when you turn the palm towards you inwards that is cinema. Cinema is more centrifugal, theatre is more powerful.
I encourage my the viewers to interpret what I write and direct for themselves. I am a firm believer that one’s art should be open to interoperation and it is our duty as writers and directors to provide as little response or answers to our work.

Actors in Brunei

TheBoor_TheLangsatThe difference I think with Bruneian actors in comparison to those abroad is that they do not have discipline on stage. This is perfectly normal since we did not grow up with a theatrical culture like the Greeks or the English.

As I told my students when directing them under for “The Boor” and “The Langsat” earlier in January, I had to train them the basic methods of acting and different kinds of theatre. The way an actors walks, reacts to another actor, listens, dictation; all this on stage must be ‘amplified’.

With “The Boor” and “The Langsat” I had to discipline my actors to utilize the fourth wall which is the barrier that indicates to the audience that this is theatre. The actors address this wall to speak to the audience and not keep it “intimate” like in the cinema. I often indicate to my actors to speak to the audience or “The fourth wall”.

I believe what I produce is art and not for commercial gain. Absurd art is not necessarily a medium which touches a lot of people but I have been touched at how my universe and situations have been able to be transcribed into Malay, English and French. It is a joy that I am able to share my love of languages and art.

Performing Arts Industry in Brunei

Living abroad has taught me to be more patriotic and appreciate my motherland despite the “unreactive” performing arts industry, which I believe will soon hopefully “react” more vigorously and bloom. I write Bruneian sketches that spans drama to comedy and languages such as English, French and Malay which are a binding factor in my work.
All human beings are separated by territory and languages while some see that as an obstacles I believe the opposite. Even if our ears are not attuned to a foreign language not our own, I think it helps to emphasize the musicality and emotional essence of a character.

Inspiring a new generation

I intend to work with more Bruneian youths this summer since BruRealism will be holding a drama workshop that will end in a showcase. An audition will be held at the BruRealism theatre school, after which candidates will be trained and taught the craft of acting.

BruRealism offers clown training, respiratory exercises also the American and French craft of acting. I am proud to bring the knowledge I have acquired abroad and share and nurture in in our Bruneian youth and I hope that this trend will continue. I can make a difference in this ever-changing artistic world we live in.

For more about Abdul Zainidi’s inspirations, acting methods and to view an online resource list of his videos and interviews click here.

Interview: A’aqil Ahmad

In an interview with Open Brunei, A’aqil Ahmad, 22 recalls his personal experiences of the performing arts in Brunei and the role it plays in his life.

My first actual theatre play was in the multipurpose hall where I became Magic Man. The name of the play was “Children of the Future”, I came in to put everyone to sleep by putting magical dust on them and then asked each student what they wanted to be when I grow up. I became the whole laughing stock of the school for a whole month or two. Everyone knew me from that, I must’ve been 14-15 at the time. That is when I started to like it. I also tried a lot of things like choir and dancing but I liked acting the most because it is about emotion and exaggeration.

Studying Abroad

I studied Quantity Surveying at Swansea Metropolitan, and having drama as an extracurricular wasn’t in the big picture, so I wasn’t as involved with it as I was before. I didn’t have time to watch theatre shows, since during my time at university I had practicals. I filled the only time I had with games and doing regular student things. It is not like I couldn’t put the two things together, but it was just, to pair those two in the situation was hard.

I never had foreign friends before, most of the people I hung before were just Bruneians. When I went to the UK where I had Jamaican, Nigerian, Irish, Welsh, Chinese friends.

Just different kinds of people, it was awkward at first since I didn’t know how to speak to them. What is the right word to say, what is the correct gesture and how to interact with them. You might do a gesture and find out it is the wrong thing to do, you just don’t know. Once I gotten used to it, coming back it was a breeze, I could talk to anyone really.

I have been with Seeds (formerly known as Students Extracurricular and Education Dramatic Society) from the first batch. I was Bill Sykes in the production of Oliver! The Musical which was my first role as a villain. Being involved with Seeds gives you a lot of  experience and some perspective for students, it is a good foundation.

I started out helping with Seeds rather than being in it, but by the end we said why not act? We were helping out at first, organising and preparing things, but we were doing what coaches do, but then it turned out we became Seedlings (member of Seeds).

It started from fun activities to something far more serious, since we wanted to really try our best and show that we can really do it as amateur actors. We have to be serious since people think acting is playful. It is only playful during rehearsals, but when you are close to the last week or before the actual performance, nobody wants to hear another person forget their lines or make joke in between lines. Nobody wants that, everyone wants you to be on spot because that is what we should actually do on the real day.

I thought when I was out of the country I could come back as a Seedling, but seeing as I have a career already it would be very uncomfortable for me I guess, and I thought I would benefit more as a coach rather than as a Seedling.

Relentless Entertainment

With Relentless Entertainment, Mardi Hedus (founder of Relentless Entertainment) got into contact with Mohammad Syafiq Haji Abu Bakar (founder of Seeds Brunei)  since they needed actors, so I was suggested for it.  We were needed for a private event and they wanted us to act in scenes from movies, so that  is how I started, I was an actor at first.

Even though I joined four years ago, I am not good at dancing but that doesn’t mean I should stop. Other than the first performance I was part of  was acting, I have also done some public performances for weddings and carnivals. I have actually done that, we did a Michael Jackson song and different kinds of popping and locking songs. It was very groovy and very tight.

Rehearsal wise, it depends on the event but for the most part we rehearse different kinds of dances. Every three nights out of a week it is always different kind of dance. The ones which work the best we rehearse, or maybe repeat them for next week. Then repeat them again the next next week, so that when there is an event we already have a base for the dance. We can just brush up the dance to show them.

You don’t really get taught to do it, it is just you go in there and you do what he (Mardi) does with the steps. “Ok guys this is one-to-two-three-four” and we follow it  and it gets faster according to the beat of the song.

Relentless Entertainment is pretty friendly to start off with. When we are not rehearsing, we are just sitting there and just looking at these talented kids who are younger than us by several years and we were just amazed. During rehearsals one of the them came to me and asked, “How are you guys?” and socially they were friendly so it was easy to talk to them.

Because everyone is young with Relentless Entertainment, below the age of the age of 30. So we have our fun, everyone is used to each other and there is no big man. There is no adult, they tell you what to do, you do this or this. It is where everyone knows what they roles are and everyone is comfortable is with each other.

I met Muhd Shavez Cheema (founder of 1StopBrunei) during a private event and it turns out we had good chemistry. I was just lucky joining 1StopBrunei, Shavez was just finding actors who could fill in a spot for him for one of the roles for his plays.  He called me and asked if I was interested, telling me if I could try doing this if you are interested.
I met him, at Universiti Brunei Darussalam (UBD) and we started going through the lines, he was impressed and I was interested and I thought we could do this more and that is when I knew there were more people in this 1StopBrunei.

Performances for 1STOPBRUNEI

The first performance for 1STOPBRUNEI was Ralph but expectations were too high. When you start something out of the blue, maybe you expected hundred or two hundred people to come, but won’t really get it just like that unless you have really good marketing and publicity. When we started the performance there was around 70 out of 200 seats filled but then after the intermission it became as low as 40 people.

It went pretty badly, but we did our best nevertheless. We didn’t have a proper MC  (master of ceremonies) or this and that, we were unorganised because we were only thinking about us, we were only thinking about doing the performance, we didn’t think it through with everything else. It became like that, we were hoping for something big, so we were crushed and disappointed but it didn’t stop us.

After that we did everything ourselves, we didn’t rely on anyone else. We did our own marketing, we did our own publicity and for the “Comedy Night Part I” at the Ministry of Education building in Gadong. We got approximately 150 and it was really impressive. It looked like a full house. We were aiming for 200 so that was a pretty good number.

“Comedy Night Part II”  I think was pretty good because we changed our prices. For “Comedy Night Part I” it was five dollars for students and 10 dollars for adults but most of them were students who came in, but this time it was three dollars per entry. We priced it this way to attract  students.

We need to rake in the profits so that we can make our own props, invest it further into our productions because we want to improve our performances aesthetically. We are not the only ones who are performing for 1STOPBRUNEI, other than actors we also have an MC, volunteers, lighting and sound so we have to pay these people. We have to appreciate their work as well. We don’t really need the money, per se.
For all the performances in Relentless we are paid for it and for 1STOPBRUNEI as well we are paid for it, it is just Seeds since it is a non-profit organisation. I don’t really mind if I don’t get paid for it since I enjoy doing what I do. It’s not a career but there is nothing wrong if it was my career.

To read the extended interview with Aa’qiil where he talks about Bruneian made Youtube videos and what constitues Bruneian humour click here.

What are your thoughts?

  • What experiences do you have of the performing arts in Brunei? Watched a play? Caught a musical?
  • Are you a performer? What performances have you done? Have you ever thought about turning it into a career?
  • How should the performing arts be encouraged in school?

Share your experiences below!

Editor: Faiq Airudin

Categories: Culture, Interviews, Videos

  1. FRani

    Hi Faiq, this is a great article and for whatever its reasons, I very much lament the lack of any significant presence of the performing arts in our country. I studied in JIS and played the trombone in the school orchestra as well as other ensembles which involved wind instruments (such as the jazz band) ever since I achieved a’ good enough’ level back in 2005 until I left for the UK in summer 2009.

    My experience in performing therefore involved annual showcase concerts in the Empire Theatre which I am very happy to say were always well-attended and usually had high-profile guests of honour (most of the time members of the Cabinet), as well as private concerts for significant overseas visitors. The most prestigious guest we had the pleasure of performing to was the Prince of Wales and the Duchess of Cornwall when they visited Brunei in 2008. Outside concerts and during practice, conversations with fellow orchestra members sometimes involved discussions about the music scene in Brunei and almost all the time these are about how music is not aesthetically well-appreciated in Brunei: we cannot find a classical or jazz ensemble of repute. Usually the very few that do exist (through the Brunei Music Society) comprise of part-time volunteers but not full-time professionals, other than music teachers in JIS. Simply said, I feel that any hopes of turning around the country’s apparent lack of real appreciation for the arts starts with changing the view that fine arts and the performing arts are REAL, professional careers needing years of practice and experience, and are not simply ‘entertainment’ or something that is in the sidelines, or just a hobby. Having said that though, I extremely enjoyed performing in these various ensembles; I felt performing music defined my unique experience in JIS.

    Although not pursuing it as a career, I continued to play the trombone during my A-Level years in the UK and later in university. To date, my most recent performance was at a small gig I played with a small jazz band as accompaniment to a play performed by my university’s drama society a few months ago and I still hope to find opportunities to play whenever I can.

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Kill Command (2016)

 Nederlands HierSummary
Set in a near future, technology-reliant society is creating killing machines. Against this backdrop an elite army unit is helicoptered in to a remote, off-the-grid island training facility, to test the capabilities of the latest prototypes. They set up positions and make short work of the AI targets in the killing field. However, overnight their sentry goes missing, and when they find the corpse the next day they find themselves in the killing field and the tables have turned.

Genre : SF
Country : UK

Cast :
Vanessa Kirby : Mills
Thure Lindhardt : Captain Bukes
David Ajala : Drifter

Director : Steven Gomez

My opinion

“Turn off that shit.
I do not want to be scanned, is that clear?“ you encounter a low-budget film with overwhelming visual looks. Like "Kill Command". And that despite the limited budget. Besides that, you can also enjoy some successful performances and a narrative which is entertaining enough. Allthough it's not very original. We've seen enough films with sophisticated technologies doing crazy things because of a short circuit. The first thing that came to my mind is "Robocop". And recently something went terribly wrong in "Ex Machina". The only thing I could cite as a minus was the design of the robot causing mayhem. A bit too bombastic for my taste. And especially the practice-androids looked rather slightly dated.

Everything revolves around Mills (Vanessa Kirby), a kind of half-android who got a chip implanted into her brains that cured her paralysis at the same time. Working as an engineer at the firm that applied this technology, she receives some disturbing data from a training robot working with that same technology. It's suspected that the robot acquired a consciousness and operates independently. Mills goes along with a platoon of marines on a mission. It's a training session that takes place on the island from which this data originates. Despite being a well-oiled unit with a solid training behind them, slowly but surely they need to realize that those strategic androids (normally they just serve as innocent targets) are much stronger.

The relationship between Mills and the marines is similar to that of Rupley and Bishop in "Aliens". They don't trust her at all, which in turn creates some hostile reactions. Especially Captain Bukes (Thure Lindhardt) doubts her sincerity and suspects she's withholding certain information. In essence, that's also the case. But Captain Bukes also comes to the conclusion that without Mills, they have no chance against the artificial intelligence of the raging robots.

"Kill Command" definitely was a pleasant surprise. A simple SF that sails an exciting course. Most actors were relatively unknown to me. Not that they all had an influential part. Most of the cast served only as victim. The clashes were limited to the battle between humans and robots on the one hand. And on the other hand a dispute between Bukes and Mills. What impressed me the most was the used footage and visual effects. For a low-budget film this section was surely impressive. You can start whining about the fact that this not the first movie about a battle between man and machine. But despite that it was a fascinating film. And once again one can start debating about whether or not a thorough automation is not life-threatening to human civilization. That's also a very old debate.

My rating 6/10

Links : IMDB

Kill Command (2016) on IMDb

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Deepwater Horizon (2016)

 Nederlands HierSummary
A dramatization of the April 2010 disaster, when the offshore drilling rig Deepwater Horizon exploded and created the worst oil spill in U.S. history.

Genre : Thriller
Country : USA

Cast :
Mark Wahlberg : Mike Williams
Kurt Russell Jimmy Harrell
John Malkovich : Vidrine

Director : Peter Berg

My opinion

"The Runner" was about a congressman who tried to provide financial support for local fisheries after the BP oil spill. "Deepwater Horizon" displays in a consistent manner the pure facts on the day of the fatal accident with this oil platform. It could have been just another disaster movie, like I've seen a lot Full of heroism, spectacular scenes and emotionally charged images of families at home, waiting for some good news. Ultimately, it wasn't that kind of a movie. They managed to make a film without any Hollywoodian, exaggerated situations. In short, no tricks to make it more spectacular in terms of action and emotions. It's an accurate reporting of the facts that took place before and during the disaster. Sometimes I feel like watching an action-soaked disaster film where people end up in a very explosive situation, both literally and figuratively. On the other hand, I would have enjoyed a piece about the aftermath of this disaster as well.

As in any disaster movie we get to see two different groups of people with opposing opinions. First we have those who predict the danger and who tried to point out to the others what consequences will result from making rash decisions. And then there's the other party rejecting any danger and trying to nip any protest in the bud, which ensures that the whole situation derails. In the group of individuals who are using common sense and where safety is top-priority, we find Jimmy Harrell (Kurt Russell) and Mike Williams (Mark Wahlberg). Harrell is a hardened foreman on the rig, who insists on checking the cement layer that'll protect the rig against a blow out. You don't have to be a genius to know this test isn't carried out properly and what consequences it'll bring. Mike Williams is the technician who's responsible to make sure everything that needs to function will function perfectly (including the toilets). It's no surprise he transforms into the person who keeps his nerve when the trouble begins and acts in an effective way to prevent worse.

The sad thing about films like "Deepwater Horizon", is that the outcome is already known in advance. It's quite annoying when your wife peeks around the corner once again and calmly asks the same question over and over again : "And? Is it already happening?". But isn't that the moment you're waiting for in the first place? The moment the mayhem starts? The prelude only has an educational purpose (with a can of Coke explaining how drilling oil from an platform works) and merely serves to gradually build up the tension. When hell breaks loose, you'll witness a chain of explosions with such destructive force that walls, iron structures and workmen literally fly away in all directions. There's nothing so annoying as when you're enjoying a refreshing shower and the wall blows up right in your face with broken glass and twisted iron leaving a trail of destruction and death. That's what some of the crew members experienced the first minute.

Mark Wahlberg plays a terrific part as the indifferent technician Mike, who isn't is impressed by the rather authoritarian tone used by the big shots from BP. I'm not Wahlberg's biggest fan, but now I felt like this was a suitable role for him. Ditto regarding Kurt Russell who stands his ground against these BP representatives. John Malkovich (who I always will remember as the provoking Russian pokerplayer Teddy KGB in "Rounders") plays the arrogant, pedantic BP man who at first acts extremely haughty and self-confident. But when the shit hits the fan, he runs off like a scaredy-cat, realizing he escaped a certain death. He looked like one of these male passengers who sneaked in the rescue boats with the women and children when the Titanic hit that giant ice cube. Pathetic.

Don't expect much profundity in this movie. No blame directed towards the managers of BP whose only concern is to make a profit. That's more important to them than the safety of the staff. No epilogue in which these bozos are held responsible for one of the largest environmental disasters ever. And no real character development when talking about the main characters. The only goal they had in mind, was to escape from the flames and survive. But the special effects, action sequences and nail-biting race against the clock will blow you away. Exactly what the crew experienced.

My rating 6/10

Links : IMDB

Deepwater Horizon (2016) on IMDb

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