蘇丹阿佈巴卡湖畔公園 (Taman Tasik Sultan Abu Bakar) 位於北根汽車城附近的蘇丹阿佈巴卡湖畔公園是個環境優美的休閒好去處。每天黃昏時分那裡都迎來許多市民在散步、聊天和打羽球等。公園裡的美麗湖泊也吸引了垂釣者，夕陽灑在湖光瀲灩的湖麵，有種詩情畫意的意境。公園裡的Inderapura Lake Resort也爲遊客提供住宿服務。
蘇丹阿佈巴卡湖畔公園裡的象牙塔。 髮現那示純樸之美 那示 (Nenasi)
逛完了北根的各個景點，如果你還意猶未儘，可計劃來個短程的濱海公路之旅，到美麗的那示 (Nenasi)踏浪去。你可取道北根大街的Jalan Sultan Ahmad，即3號公路一路以南往雲冰和新山的方向走，行駛約40公裡後即抵達那示。
Muzium Sultan Abu Bakar 開放時間：早上9時30分至下午5時 (星期二至星期日) 早上9時30分至中午12時15分，下午2時45分至5時(星期五)，逢星期一和開齋節首日休館 地址： Jalan Sultan Ahmad, 26600 Pekan, Pahang. 聯絡電話：09-422 1371 收費：RM5 (馬來西亞公民)，RM4 (彭亨州子民)，身着校服學生和12歲以下孩童免費
已故前首相敦阿都拉薩出生地 參觀皇宮後，驅車前往進入北根的十字路口處，往Batu Balik的方向去。請留意路旁的告示牌，行駛約2公裡後轉右不久即抵達Kampung Pulau Keladi文化村了。
到訪者可先到文化村裡的敦阿都拉薩展覽廳(Galeri Tun Abdul Razak)參觀和了解關於前首相敦阿都拉薩的史跡，再步行到隔壁的前首相出生地和故居參觀。前任首相敦阿都拉薩也是現任首相拿督斯裡納吉的父親，展覽廳裡也可看到許多前首相一家人早期的合照和解説，可謂意義堪深。前首相敦阿都拉薩出生的屋子是傳統馬來高腳屋，儘管爲維護日久失修的屋子而修複了不少，但屋裡還保留了不少首相家人早年曾使用過的懷舊器具、寢室用品和櫥櫃等。參觀那裡後，可到對麵的彭亨絲綢紡織中心(Pusat Tenunan Sutera Pahang)參觀，以了解更多彭亨出産的絲綢佈料之製作過程。 Kompleks Budaya Kampung Pulau Keladi 開放時間：早上9時30分至下午5時 (星期二至星期日) 早上9時30分至中午12時15分，下午2時45分至5時(星期五)，逢星期一和開齋節休館 地址：Kampung Pulau Keladi, 26600 Pekan, Pahang 聯絡電話：09-422 1371 收費：成人RM1，小孩免費
Pusat Tenunan Sutera Pahang (Pahang Silk Weaving Centre) 開放時間：早上9時至下午5時(星期一至星期五，週末時間可緻電詢問) 地址：Kampung Pulau Keladi, 26600 Pekan, Pahang 聯絡電話：09-422 1371 收費：免費
蘇丹阿佈巴卡博物館 (Muzium Sultan Abu Bakar ) 博物館內收藏了大量的彭亨州古文物，如前任蘇丹穿過的服飾和馬球用具等。其他還有陶瓷、紡織品、彭亨原住民史籍和東海岸文化藝術品等。重開的博物館注入了歷史與藝術於一體的元素，當局在館外裝飾了許多創意造型的動物藝術品，讓參觀者感覺博物館生動起來，也消除了以往逛博物館是沉悶的印象。
INSTITUT KEMAHIRAN TENUN PAHANG DIRAJA TENGKU AMPUAN BESAR MERIAM @ KOMPLEKS BUDAYA KG. PULAU KELADI PEKAN PAHANG
Institut Kemahiran Tenun Pahang DiRaja Tengku Ampuan Besar Meriam (IKTPD) bertempat di Kompleks Budaya Kg. Pulau Keladi, Pekan berhampiran dengan Rumah Kelahiran Tun Abdul Razak yang merupakan Perdana Menteri Malaysia Ke-2.
IKTPD adalah sebuah Institut yang menawarkan pengajian berteraskan pendidikan vokasional.
Konsep pendidikan di IKTPD memberi penekanan tujuh puluh (70) peratus dalam aspek kemahiran dan tiga puluh (30) peratus dalam bidang akademik.
Bagi meninggkatkan tahap kemahiran, para pelatih diberi peluang mengikuti latihan industri di perusahaan kraf yang berjaya.
IKTPD menawarkan program pengajian Sijil Seni Kraf Tenunan ( Tenun Pahang DiRaja ) secara sepenuh masa.
Matlamat
Perbadanan Kemajuan Kraftangan Malaysia memainkan peranan utama dalam memajukan industri kraf di negara ini. Matlamat penubuhan IKTPD ialah untuk melahirkan tenaga mahir bagi keperluan industri kraf negara agar warisan kesenian dan budaya tempatan terus kekal dan berkembang maju.
Visi
Menjadi pusat kecemerlangan pendidikan kraf yang dapat melahirkan tenaga mahir, usahawan kraf dan menjadi pusat rujukan, penyelidikan serta pemuliharaan warisan negara.
Misi
Menjana sumber manusia yang berkemahiran, berilmu, menguasai pengeluaran, peka pada warisan tradisi dan berketerampilan dalam bidang kraf melalui proses pengajaran dan pembelajaran, penyelidikan dan pembangunan bagi memajukan industri kraf tenun.
The Sakon Hed festival illustrates how a dispersed network of creatives can come together and build creative capital through active collaborations and connections. This network is unique, in that it is still very much grounded by a commitment to the place and its tradition, and shows that the creative life of a place doesn’t necessarily need to be permanently situated to bring about a rich creative milieu. While there is an increasing number of creatives – particularly fashion designers – returning to open new indigo-related businesses in the city, there are also many more returning creatives who use the Sakon Hed festival as an opportunity to draw inspiration and bring new ideas back into the creative life of Sakon Nakhon.
The festival is an example of a collaborative creative endeavour sustained by Sakon Nakhon’s creative diaspora.
Importance of Family Bonds and Networks
Family bonds and family-like networks have been key to the revival of indigo-dyed products, and continue to sustain the creative ecosystem of Sakon Nakhon. Generational businesses such as Mae Teeta or Kram Thong and Mann Craft highlight the importance of not just drawing on traditional craft knowledge, but also joint family resources to support the development of new ideas.
The Sakon Hed network is very much established and reliant on blood ties and family-like bonds. For example, Teeta Janpengpen (of Mae Teeta) is the grandmother of Gypsy Janpengpen, a key member of the network. Gypsy Coffee Drip is located next to the Mae Teeta shop in Dong Mafai village. Other members of Sakon Hed may not be related to each other but have nonetheless developed family-like bonds through years of childhood friendship. External visitors such as Chamroen Studio from Bangkok are connected through Mr Gypsy, who consider him as a ‘brother’. These family-like bonds explain the ability of the network to attract many external organisations to participate, calling on goodwill that only family-like relationships can rely on. Diversifying a Creative Ecosystem
The indigo dyeing and weaving industry have been the dominant driver of Sakon Nakhon’s creative ecosystem. Prolonged investment and support from various government initiatives has undoubtedly helped revive it and contributed to its success.
However, we have seen evidence of other creative activities emerging in the past few years that have diversified and strengthened Sakon Nakhon’s creative ecosystem. New creative businesses ranging from indigo-related products to sustainable agriculture and farm produce have illustrated how a creative district can continue to grow and evolve even without significant government support. Sakon Nakhon’s example shows how a creative district can build and extend on existing resources to achieve a more diversified and self-sustaining creative ecosystem
(Source: Creative and Cultural Districts in Thailand; May 2020; britishcouncil.or.th)
These contributions have been perceived as top-down and less flexible than local, self-organised efforts to nurture the creative community. A study by Chanorn identified OTOP as successful in stimulating local entrepreneurship, but also reported how local artisans felt it introduced divisiveness and promoted business models that were antagonistic to the cooperative nature of many community groups.
Educational institutions provide considerable links to resources and opportunities outside Sakon Nakhon. Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus and Sakon Nakhon Rajabhat University have supported many projects that connect to public and private sectors, such as the example provided earlier where NSTDA commissioned Rajabhat University to develop the local dyeing and weaving industry.
Other examples include talks provided by experts during the Sakon Hed festival, such as Assistant Professor Tips Srisakunchaiyaruk (ผู้ศ์.ธิป์ ศ์รีสกุลไชียรัก) from Arsom Silp Institute of the Arts, on community development, and Ms Sirikun Lolpaikun (ดร.ศ์ิริกุล เลากัยกุล) from Brand Being, who shared her vision on branding community products. Sakon Hed talks were supported by the British Council Thailand, which also provided funding for online media production during the festival
Key Characteristics of Sakon Nakhon as a Creative District Nature as a Driver of Creative Endeavours
Sakon Nakhon’s creativity draws upon the abundance of natural resources, attested by the indigo-dyeing and textile handweaving industry. Villages spread out in the Isan region cultivate this traditional craft. Many have made significant efforts to preserve the ancient craft, such as Mae Teeta, which rescued the seeds of two different varieties of indigo and grows them both to ensure their continuation. The revival of this craft in the 1990s, driven by renewed interest in organic and sustainable products worldwide, has also expanded the creative community to engage with agriculture and farming practices. The festival and network have given a platform for these industries in Sakon Nakhon to contribute to the creative and cultural richness of the area. This has expanded the scope of the cultural assets of the province to the forefront of contemporary life.
Sustaining and Developing the Dyeing and Weaving Craft Indigo-dyed products have recently started to make their way into Sakon Nakhon city centre, where shops are catering directly to collectors and consumers. Support from local universities with technical know-how has been crucial in introducing innovation to this labour intensive craft.
Opportunities to sell indigo-dyed textile products on a national and international scale is also emerging, sustained by efforts to establish quality standards and develop new modes of production, aided by branding, manufacturing and marketing support by various government initiatives. Newer indigo brands may communicate the indigo craft as a traditional practice as part of their message, but some, such as Mann Craft, focus on (re) discovering ways to extract pigments from different plants, creating new textile patterns produced artistically by weaving communities.
However, natural dyes and textile weaving are labour intensive, which justifies the high price of the more elaborate items. As the market becomes increasingly competitive, the sector must find ways to preserve its authenticity without impacting on product prices and, therefore, labour retribution.
Close relationships and collaborations are key drivers of creative activity in Sakon Nakhon and are evident within the various communities in the province. Stemming from strong, intimate bonds, the indigo craft bridges different age groups and social identities. Skills are passed on between family members, and specific weaving patterns and dye recipes are developed within villages, which have an intimate relationship with the surrounding land, rivers, wetlands and mountains.
Age-old bonds are seen in contemporary indigo brands such as Mae Teeta, Kram Thong and Mann Craft, discussed earlier. These family businesses have transformed indigo textiles from everyday, traditional products, bridging an emerging class of creatives looking to develop business in their hometown to reach a global market.
The Sakon Hed network offers the strongest example of family-like bonds that build bridging links. Sharing the same passion for returning home to reconnect, the founding members described their team as brothers, sisters and friends. The festival is an opportunity to expand the network and ‘make more friends’, turning strong bonds into bridging opportunities with other creative communities outside the province (see p. 111).
Collaboration is based on respecting differences in taste and expertise, while carefully mediating and reaching consensus. Since Sakon Hed organisers do not conduct business together, there are no conflicts of interest or competition between them. Instead the focus is on creating a welcoming environment for the growing number of visitors.
The network has not relied on government funds or external influential partners to enable its growth. The success of the network and festival lies in this focus on collaborations and friendships, rather than just economic revenue. The organisers described the latter as a ‘social lubricant’, but not the main goal of Sakon Hed. What started as a family-like gathering has now become the largest independent festival in the province, where dispersed creative communities that live and work in bigger cities such as Chiang Mai or Bangkok come to meet, eat, drink and enjoy sustainable and creative activities.
The power of the Sakon Hed network to connect with a diversity of creative groups is remarkable. The festival draws talents to Sakon Nakhon temporarily to reconnect with fellow creatives, while also inviting friends from other provinces such as Surin (จังหวัดสุรินท่ร์) and Phrae (จังหวัดแพัร่) to share and potentially collaborate. This maintains bridging relationships among mobile groups of creatives from different provinces and regions. Siaw Sakon, also known as the Friends of Sakon, is an extended network of friends involved in the organisation of the Sakon Hed festival. They travel from other regions in Thailand to join the festival as exhibitors and organisers. For example, Phrae Craft (แพัร่คราฟ้ท่์), a creative network from Phrae province in the north of Thailand, are also members of Sial Sakon and exhibit traditional craft products at the event. This is an exchange, as the Sakon Hed network also joined Phrae Craft’s creative festival from 6 to 8 December 2019.
Many other groups, such as Folkcharm from Loei Province (จังหวัดเลย), and Charm-Learn Studio (ชีามเริญิ สต้ดิโอ) and Ruenrom Organic Living from Surin Province, participate at these events to share organic products, new soil-dyed cotton, ceramics and award- winning bento designs.
As a geographically dispersed creative district, networks and community groups play an important role in Sakon Nakhon. The Sakon Hed network consists of locally born creative producers and innovators that come together once a year. The 18 founding members grew up locally but moved away to other cities. They reconnected four years ago with the idea of creating a platform for local creatives and craftspeople to come together, and this resulted in the Sakon Hed festival, held annually since 2016. In recent years, the Sakon Hed network has increased awareness of arts, craft and creative enterprises to showcase their work. Their independent status, without affiliation with the government or corporations, allows them autonomy and freedom in curating the festival.
The Young Entrepreneur Chamber of Commerce (YEC) is a nationwide network with a local office in Sakon Nakhon that supports businesses participating in the Sakon Hed festival. YEC is a network of second generation business people who run mostly small businesses in the area. One notable initiative by YEC is an annual fundraising run in December to build and develop children’s centres in Sakon Nakhon.
The annual Sakon Hed festival in 2019 at Farm Hug Annual Festivals Festivals have become important temporary hubs to draw dispersed creatives and artisans to Sakon Nakhon to meet, share and network. Many people featured in this case study are young, returning talents, having studied or worked outside Sakon Nakhon city. The main Sakon Hed festival brings together a unique mix of indigo-dyeing and sustainable farming products across the province.
‘Sakon Hed’ (สกลเฮ็ด) means ‘Sakon Nakhon made’ in the Isan language. The festival has been held every year in December since 2016, to champion community-made, locally sourced products and services. The event offers workshops, talks and networking opportunities for artisans and visitors, attracting exhibitors and tourists from all around the province and the country. The festival is grassroots and volunteer-led, without significant funding support from one entity. Contributions come in different forms, from in-kind support by musicians to sourcing bamboo needed for stall structures. The festival has grown in popularity, attesting to the dedication of the organisers, and moved to a larger location for 2019. It coincides with Christmas to take advantage of the festive seasonal holiday, when many people are travelling back home.
Throughout the year, other cultural and religious festivities take place. Communities from around Sakon Nakhon Province construct large models of Buddhist temples out of beeswax. These impressive constructions are loaded onto trailers and driven through the city during the annual Wax Castle parade that concludes the Wax Castle Festival (เท่ศ์กาลแห่เท่ียนพัรรษ์า), taking place every year in October at the end of Buddhist lent. The Wax Castle parade is the biggest event of the year and it is supported by the local government, temples and other organisations.
Building Social Capital in Sakon Nakhon
Sakon Nakhon’s social capital owes much to the family-like bonds between groups and friends, underpinned by a strong sense of community.
While geographically dispersed, the creative and cultural ecosystem of Sakon Nakhon is held together by shared values of respect for traditional wisdom, nature and sustainable development.
Key actors such as the Sakon Hed network, creative indigo producers and sustainable farmers were identified with characteristics such as being dedicated, generous, collaborative, innovative, experimental, heartfelt, flexible, a good listener, team worker, open minded, kind, good advisor, good at problem solving, hardworking and able to say sorry.
Cha Ya Ta is an experimental studio that combines eco-printmaking with local hand dyeing and weaving. Cha Ya Ta Incha (คุณชีญิตว์ อินท่ร์ชีา) is an art educator at the School of Education, Roi Et Rajabhat University, and an expert in eco-printing. Her gelatin-printing techniques, which are sustainable and ecological, are taught through regular workshops at her studio.
Phukarm (ภ้คราม) is known for working with communities in the Phu Phan mountains to create hand-made textiles and embroidered floral patterns. Ms Pilan Thaisuang (คุณป์ิลันธน์ ไท่ยสรวง) is a returning resident who worked as a community historian in Bangkok. Since 2016, she has trained and worked with ageing local women weavers to enable their traditional designs to become contemporary products for different markets.
Institutional Collaborations and Policy Instruments
Thai central government has supported the indigo-dyeing sector through various entrepreneurial-based development strategies since 2001, during Prime Minister Thaksin Shinawatra’s first period in office. The Ministry of Industry established ‘entrepreneur development units’ to activate business, while the project One Tambon One Product (OTOP) aimed to stimulate entrepreneurial development in rural areas. In 2004, the Sakon Nakhon provincial governor designated indigo-dyed textiles as the official symbol of the province.
The SUPPORT Arts and Crafts International Centre of Thailand (SACICT) was established by royal decree in 2003 to ‘promote and support the integration of vocations leading to the creation of folk arts and crafts’.18 It has introduced quality standards and supports local craftspeople and entrepreneurs with training, branding, marketing, internationalisation, intellectual property and blending technological development with traditional practices. These measures were put in place at a time when the market for indigo products was saturated and many entrepreneurs were pushed out of business by competition.19
As a 18 result indigo entrepreneurs began developing distinct brands that communicated authenticity and the careful design of their products.20 In 2008, Kenan Institute Asia (K.I.Asia) introduced community capability development programmes to resource indigo textile production in Sakon Nakhon, supported by BEDO. Since 2011, the development of small and medium-sized enterprises in the textile industry – grouped under the name of Cloth Industry Cluster of Sakon Nakhon (CIC-Sakon, โครงการพััฒินากลุ ่มสิ ่งท่อผู้ายอม ครามจังหวัดสกลนคร) – has been supported by the Department of Industrial Promotion. The project is hosted by Kasetsart University. Since 2012, BEDO and K.I.Asia have collaborated with CIC- Sakon enterprises, implementing the Developing Indigo-Dyed Textile Industry Corporation Project within the indigo-dyed textile industry cluster, covering the full supply chain from indigo and cotton farming to marketing.21 In 2017, with the support of Sakon Nakhon’s Chamber of Commerce, the local campuses of Rajabhat and Rajamangala universities, Silpakorn University and the Association of South East Asian Nations (ASEAN) Handicraft Promotion and Development Association (AHPADA), Sakon Nakhon successfully applied to be nominated as a Craft City by the World Craft Council.
(pg 55) Alongside the indigo craft communities, there are new groups of returning creative entrepreneurs that are heavily influenced by sustainable living, and are actively contributing to the creative and cultural buzz of Sakon Nakhon. Many of these businesses are reconnecting with their strong cultural roots and illustrate the increasing diversity of Sakon Nakhon’s creative life.
URANFARM (อุฬารฟ้าร์ม) produces organic cacao, orchids, salad and palm oil. It is owned by Mr Narongdech Urankun (ณรงค์เดชี อุฬารกุล), a local politician and farmer who is considered a pioneer of modern organic farming, introducing new crops and utilising different marketing and sales strategies by exporting to other regions. Mr Narongdech is a key member of the Sakon Hed
Case Study Sakon Nakhon
buffalo grazing – Ms Saisunee Chiyahongsa (คุณสุนี ไชียหงษ์า) and Mr Sakai Chiyahongsa (คุณสะไก ไชียหงษ์า), leaders of the Baan Na Chuk Organic network, which hosts the annual Sakon Hed festival. Gypsy Coffee Drip and Gypsy Camp are owned by Mr Gypsy Janpengpen (ยิป์ซี จันท่ร์เพั็งเพั็ญิ), another key member of the Sakon Hed network. Recognising an opportunity to service tourists interested in indigo products, he opened his cafe in 2014 next to the Mae Teeta shop. It is akin to a creative hub where local art and craft practitioners meet, including the Sakon Hed network. Like many others featured in this case study, Mr Gypsy returned after working as a researcher at Kasetsart University in Bangkok and witnessing the devastating 2011 floods.17 Na Come Home (นาคำาหอม) is a brand of organic food including rice, fruit, vegetables and herbs.
It is owned by Ms Ratikorn Tongsiri (รติกร ตงศ์ิริ), another returnee who left behind a job in Bangkok’s media industry in 2011. Concerned with environmental issues and aiming to promote healthy living, she became an organic rice and vegetable farmer. Ms Ratikorn expanded her farm and opened an organic cafe, Come Home Sakon, at the end of 2011. The cafe sells desserts, drinks and locally sourced goods as well as showcasing local indigo products. Come Home Sakon is popular with locals, visitors and a network of young entrepreneurs that gather here. Profits from Na Come Home and the cafe are donated to local childcare centres and schools, reflecting other initiatives that are giving back to the community. Kor Fai (ก็ฝั่้าย) produces natural cotton products and promotes community tourism in Baan Na Chok. Community tourism enables local residents to share resources with visitors for the sustainable benefit of both the community and the natural environment. As a plateau and drought area of Sakon Nakhon Province, Baan Na Chok is used for Dyeing Group, have used locally available resources such as buffalo manure creatively, to experiment with organic dyeing processes. They have developed both agricultural and community tourism, creating a successful complementary experience alongside their Kor Fai cotton products.
Hoop Thame (ฮ้ป์แตม) specialises in Isan graphic design, prints, craft and book-making. Mr umnart Sunaprom (คุณอำานาจ สุนาพัรม), a graphic design lecturer at Sakon Nakhon Rajabhat University, experiments with natural materials such as indigo dyeing on banana leaves, and offers hand-dyed textiles and hand-bound book-making workshops.
Mae Teeta (แม่ฑีตา) was the first indigo-dyed product brand in Sakon Nakhon, set up in 1992 by Ms Praphaiphan Deangchai. The brand paved the way for the resurgence of indigo craft in the province. ‘Mae’ is a respectful term meaning ‘mother’, named after the founder’s mother, Ms Teeta Janpengpen (ฑีตา จันท่ร์เพั็งเพั็ญิ). Mae Teeta is a family-run business involving the founder, her sister, her daughter and her nephew in the production of indigo-dyed textiles and clothes.
Ms Teeta and her daughter were pioneers in reviving indigo farming in Sakon Nakhon, by introducing indigo seeds harvested from the surrounding forests into cultivation. A family-like relationship extends to the producers who plant and spin cotton with traditional spinners. Clients are also included in this extended family. Mae Teeta has a loyal base of returning customers that trust the brand and recommend its products to
others. The younger generations of Mae Teeta’s family are fashion graduates who are developing clothing lines for younger customers and introducing the brand to an international market.
Contemporary Indigo-Related Products and Shops
A new generation of makers and producers are evolving indigo craft through a combination of experimental techniques, new marketing strategies and the creation of contemporary designs, as demonstrated by Mae Teeta’s example. Branding has become a key practice in the transformation of indigo-dyed textiles from objects
of everyday, personal use to commodities available for local, national and international trade.15 KramSakon is an umbrella brand for all the indigo merchandise produced by the indigo-dyed textile industry cluster.
It is made up of 20 community enterprises and four SMEs. Members of KramSakon were among the first to establish the Phra Kram street market to sell their products through a dedicated store. One of the stores, Kram
Hug, was started by a long established clothing producer, taking advantage of renewed interest in indigo products. It creates contemporary clothes, household items and accessories designed to appeal to a younger audience. Dominating a busy crossroads with large windows and outdoor plants, Kram Thong (ครามท่อง) and Mann Craft are owned by the same family and share premises. The stores are a key stopping point for important visitors such as the Thai fashion designer Princess Sirivannavari.
The store displays traditional looms, books and signs explaining the process of indigo production.
Indigo Communities and Traditions The recipes for indigo dye and the patterns and motifs created through weaving can vary from one community to the other. Weaving communities grow indigo plants using traditional methods11 and make use of locally grown and spun cotton and silk yarns. A system of shared facilities keeps costs down, promotes collaboration and the circulation of resources and knowledge between communities. The weaving process is equally demanding and heavily reliant on the labour of women.
Girls are socialised from a very young age, starting with cotton spinning and picking. Women learn to work together, where the younger and less experienced weavers can observe the proficient ones, learn their patterns and practise under supervision, with knowledge passed on from older women to younger girls.12 This practice means the indigo-dyeing and weaving industry is managed 90 per cent by women. For example, in the Ban Cherng Doi cotton community enterprise group (วิสาหกิจชีุมชีนท่อผู้าฝั่้ายยอมครามธรรมชีาติบานเชีิงดอย), men are in charge of growing indigo and making dye, while women weave cotton into traditional patterns and invent new ones. Men may also deal with matters outside the home, or even occupy positions of power in the public sector that enable them to support the dyeing and weaving industry through policy decisions.13
Pioneers of Indigo Production and Community Enterprise Groups
To an untrained eye, indigo products may all look the same, but the expertise is embodied in the production process, the history of the practice, different techniques and additives used, and the quality of the woven materials. Some long established groups are distinct in the way they make, manage and develop their products. Nakhon Tumtao Agricultural Housewives Group (บานนครถำ าเต่า) was established in 2008 as a community-managed production network consisting of 372 indigo weavers from different villages, each member taking care of a specific part of the production process. The group is led by Ms Somkid Promchak (คุณสมคิด พัรมจักร) (known as Mae Soom: แม่สุ ่ม), who left to be educated elsewhere and returned in 1998. The group has collaborated with Kasetsart University and other agencies to research natural dyes and has developed its own recipe using lotus plants as an additive to the indigo dye.14
Ban Kamkha Indigo Weavers Group (บานคำาข่า) has been running since 1994 as a community enterprise producing hand-printed cotton. Ms Pira Prasertkantong (คุณพัิระ ป์ระเสริฐกานตง) is the local craft expert and instructor in a government- initiated project for local craft promotion (SUPPORT Arts and Crafts International Centre of Thailand – SACICT) and continues to innovate by introducing new patterns. The group’s goal is to grow its own cotton and create special recipe dyes incorporating mud and husks. Taking a different route to market, the Ban Oondong Nong Chaiyawal Indigo Community Enterprise (กลุ ่มวิสา- หกิจชีุมชีนท่อผู้ายอมครามบานอ้นดง-หนองไชียวาลย์) distributes its unique weaved patterns from indigo-dyed, hand-spun cotton threads through an online channel. Led by indigo expert Ms SuneePromkomol (คุณสุนีย์ พัรอมโกมล), it is supported by the Biodiversity-Based Economy Development Office (BEDO) under the Ministry of Natural Resources and Environment to develop sustainable natural products.
Many indigenous groups live in Sakon Nakhon Province. These communities have an enduring tradition of weaving and dyeing cloth, and each group has devised specific techniques, patterns and styles that are regarded as a form of indigenous art and taught through the generations.5 Mud mee (มัดหมี �), or ikat, is a technique of resist-dyeing to pattern textiles, such as tying or stitching. Weaving is traditionally considered a duty for Phu Tai women in the community.6 In the past, textiles were woven for household products, such as clothes and bedding, as well as for important events and ceremonies such as weddings or Buddhist festivities. Dyeing and weaving industries rely on proximity to natural resources, so they are distributed throughout Sakon Nakhon Province. The map (pp. 98-99, fig. 1) shows traditional communities and pioneer revivalist groups located outside of Sakon Nakhon city.
More recently, shops selling indigo textiles and products have started opening closer to the city centre. Every afternoon on weekends and public holidays, Rop Mueang Road (ถนนรอบเมือง) in front of Wat Phra That Choeng Chum is transformed into Thanon Pha Kram market (ถนนผู้าคราม), taking advantage of a new commercial space that opened in 2016. Vendors sell raw indigo materials and end products such as clothes or accessories, so all generations of indigo enthusiasts can sell, buy and network. The market was an initiative of Kasetsart University, with support from local government, the Department of Creative Industry Development and the Department of Industry Promotion. Named as a ‘northeastern style flea market’, indigo-dyeing workshops are also held here. Others have opened permanent shops next to the market, such as Thainiyom Kramsuay (ไท่ยนิยมครามสวย), which occupies a 70-year- old, two-storey wooden house.
Educational Institutions
Two universities in the city – Kasetsart University (มหาวิท่ยาลัยเกษ์ตรศ์าสตร์) and Sakon Nakhon Rajabhat University (มหาวิท่ยาลัยราชีภัฎ สกลนคร) – have been instrumental in reviving indigo-dyeing practices, bridging indigenous wisdom with modern science and technology.7 Local schools provide indigo workshops for students, while the Indigo Centre at the Research and Development Institute of Sakon Nakhon Rajabhat University was set up to support people from the surrounding communities in developing their craft practices. Sakon Nakhon Rajabhat University was commissioned by the National Science and Technology Development Agency (NSTDA) - (สำานัก งานพััฒินาวิท่ยาศ์าสตร์และเท่คโนโลยีแห่งชีาติ), owing to government policy introduced in 2000, to assist a community initiative in indigo craft revival.
Researchers worked closely with villagers to understand and catalogue the traditional practices – traditions surrounding the craft include the belief that dye vats are inhabited by spirits that can favour the dyeing process8 – and chemical processes of dyeing. What was once small scale and labour intensive with varying quality has transformed to meet an increasing demand for indigo textiles on the national and international market.9 This new knowledge supported some of the indigo revival pioneers, such as the development of a database system of Sakon Nakhon’s indigenous fabric stripes and patterns, which in turn contributed to the expansion of local craft knowledge.10
Transportation Hubs
Sakon Nakhon has a domestic airport with a daily bus service to Bangkok. A planned upgrade by Airports of Thailand (AOT) to create an international airport hub in the coming years will undoubtedly improve connectivity to the district. There are also two bus stations servicing routes to nearby cities such as Udon Thani and Nakhon Phanom. (pg. 103)
Indigo plants are widely grown in the area surrounding the Songkhram River, the very name of the river meaning ‘indigo forest’. The locals have found many uses for indigo over the centuries, calling it the ‘king of dyes’. It is most famous as a natural pigment yielding a distinctive, deep blue colour. However, other uses are common, such as a repellent for rice pests and a culture starter for edible mushrooms.
3 Department of National Parks, Wildlife and Plant Conservation (2015). National parks in Thailand. 4Tjahja, C. (2020). Reorienting and sustaining design and social innovation: Insights from Asia-Pacificpractices [Unpublished doctoral dissertation]. Northumbria University.
Public Spaces
Public spaces are often a rare commodity in Thailand,4 and can act as important hubs to enable civic, cultural and creative activities to happen. Lotus Park and the surrounding two parks located next to Nong Han Lake are considered the heart of Sakon Nakhon culture, supporting the recreational and cultural life of the residents. Nong Han Chaloem Phrakiat Lotus Park (อุท่ยานบัวเฉลิมพัระเกียรติ) was created in 2009 by Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus as part of a research project looking into the benefits of the royal lotus plant. Opened to the public in 2010, the park now features more than 100 varieties of lotuses and water flowers from around the world, with indoor and outdoor exhibition areas.
Suan Somdet Phrasinakarin and Suan Somdet Galyani Vadhana Parks (สวนสมเด็จพัระศ์รีนครินท่ร์และ สวนสมเด็จเจาฟ้้ากัลยาณิวัฒินา กรมหลวงสงขลานครินท่ร์ หรือ สวนแม่สวนล้ก) are located next to Nong Han Lake. Often described as the ‘lungs of the city’, they are the only large pedestrianised areas in Sakon Nakhon, kept cool by the large lake and the tall trees at the edge of the parks. They are prominent meeting points, hubs for recreational activities and places to gather for many public events.
Religous Structures
Given the fact that there are more than 400 Buddhist temples, only the most significant have been noted here. Built around the first century, Wat Phra That Choeng Chum (วัดพัระธาตุเชีิงชีุม) is one of the most important city temples of Sakon Nakhon. It was known as Phra That Nong Han (พัระธาตุหนองหาร) during the time of the Lan Xang Kingdom. Wat Phra That Choeng Chum represents Lan Xang influences in Sakon Nakhon culture and traditions. Located next to Nong Han Lake, it is a popular destination among locals and tourists, who often visit to pay respect. Taking advantage of its popularity, local entrepreneurs have set up stalls selling indigo products around the entrance of the temple grounds. In front of Wat Phra That Choeng Chum is a walking street, hosting a creative weekend market called Thanon Pha Kram (ถนนผู้าคราม).
The Archangel Michael Cathedral, located in the subdistrict of Tha Rae (ท่่าแร่), serves the largest Catholic community in Thailand. Its original structure was built by a community of Vietnamese descendants who settled in this province more than 130 years ago after fleeing persecution. The cathedral serves as a reminder of the rich cultural influences of the province. (pg 101)
Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.The communities’ close relationship with rich, fertile land and natural resources, and the valuing of local wisdom and indigenous knowledge, extend to sustainable agricultural practices in rice and beef. Small, family-run organic farms, such as Farm Hug, have increased in number in recent years, where traditional crafts and organic food production are brought together. This confluence of craft, culture and food makes Sakon Nakhon a unique creative district in Thailand.
Typology of Sakon Nakhon’s Creative and Cultural District Hard Infrastructures
Sakon Nakhon is characterised by the relative remoteness of the region, its natural resources and its close proximity with other national borders and cultures. Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks. North of Sakon Nakhon are the provinces of Bueng Kan (บ่งกาฬ) and Nong Khai (หนองคาย), while Udon Thani (อุดรธานี), the prominent city of the Isan region and Isan Buddhism, is to the west. The south of Sakon Nakhon is connected to the provinces of Kalasin (กาฬสินธุ ์) and Mukdahan (มุกดาหาร), and the nearest province is Nakhon Phanom (นครพันม), which is only 93km away. The region is close to the Laos border, where Vientiane is only 236km over the Thai-Lao Friendship Bridge (สะพัานมิตรภาพัไท่ยลาว). Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks.
Natural Resources
The abundance of water sources is an important natural infrastructure for the province because other surrounding provinces in northeast Thailand (such as Udon Thani) are dry regions. Sakon Nakhon Province is dominated by large bodies of water and mountains. Nong Han Lake (ท่ะเลสาบหนองหาร) is Thailand’s largest freshwater lake and the surrounding wetlands are important
conservation areas. Nong Han Lake is fed by the Nam Pung River (ลำานำ าพัุง) originating from the Phu Phan mountain region (เท่ือกเขาภ้พัาน), and draining through the Huai Nam Kan River (หวยนำ ากำ า) into the Mekong River (แม่นำ าโขง). Other sources of water come from the Himalayas, where the Mekong River springs and flows through China, Myanmar, Laos, Thailand, Cambodia and Vietnam before flowing into the South China Sea. During its course, the Mekong River feeds the Songkhram River (แม่นำ าสงคราม) flowing through the northeast of Thailand, causing it to flood an area of more than 100 square kilometres every rainy season. This phenomenon sustains an aquatic and terrestrial ecology of countless wetlands; their biodiversity has high cultural and economic value in sustaining the communities for centuries.
Phu Phan National Park (อุท่ยานแห่งชีาติภ้พัาน) is one of the important natural resources in Sakon Nakhon. Located in the Phu Phan mountains, a range of hills dividing the Isan region into two basins, the park was established in 1972 to protect the flora and fauna of the area,3 including the prized Siamese rosewood (ตนพัะย้ง). The indigofera tinctoria, known as the indigo plant or kram (คราม) in Thai, originates from the Phu Phan mountains. (pg 100)
Famous Buddhist forest monasteries include Wat Pa Sutthawas (วัดป์่าสุท่ธาวาส), the temple of Buddhist master Mon (หลวงป์้ ่มั น), and Wat Pa Udomsompone (วัดป์่าอุดมสมพัร), where the relic of Fun (หลวงป์้ ่ฝั่ั น) is kept. There are well-known annual Buddhist events supported by local government, such as the Wax Castle Festival (ป์ระเพัณีป์ราสาท่ผู้่ ง) and the Boat Race (ป์ระเพัณีแข่งเรือ) at the end of Buddhist Lent Day (วันออกพัรรษ์า). All of these events involve local artisans – for example, to create the beeswax castles and decorations on boats, and perform traditional dance and parades.
The current population of Sakon Nakhon Province is around 1.1 million, and there are approximately 113,000 residents in the city centre. People here speak Isan, which is a Thai-Lao mixed language used around northeast Thailand. There are six different tribes in Sakon Nakhon – Saiyor (ไท่รญิอ), Taiyoy (ไท่โยย), Taiso (ไท่โส), Taikaleang (ไท่กะเลิง), Tai-Loa Isan (ไท่ลาวอีสาน) and Phutai (ภ้ไท่), the last one being the largest and oldest tribe in the area. These tribes have their own dialects of Isan language and have been engaged in traditional weaving practices of both silk and cotton for generations. These traditions have very much shaped the creative and cultural fabric of the region. 1Chanorn, C. (2016). Self-transformation strategies of development: The emergence of indigo dyed textile entrepreneurs in Sakon Nakhon, Thailand. Thammasat Review, 19(2), 1–21.
Sakon Nakhon is famous for indigo dyeing and textile weaving. Due to the abundance of the indigo plant along the Songkhram River (แม่นำ าสงคราม), which flows through the province, villagers have developed local wisdom and know-how to produce indigo-dyed textiles in a variety of patterns and styles. Indigo-dyed textile production declined in the Isan region during the mid-19th century due to
synthetic dyes and industrialisation.1 Farmers switched from growing indigo to more economically viable plantations such as rice, rubber, tapioca, cotton or sugar cane. Villagers, including women, started migrating to cities, reducing the number of agricultural labourers and weavers while swelling the ranks of factory workers. Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.2
Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.
Indigo-dyeing products on display at Mann Craft However, since the 1990s the indigo industry has experienced a revival. During and after the economic crisis of 1997, various initiatives were introduced by the government to stimulate job creation in the rural sector and incentivise workers to return to their hometowns. In this period, the idea of ‘local wisdom’ emerged as a central concept for the revitalisation of many artisan sectors, including agriculture, food, traditional medicine and crafts. Many of the pioneers of the indigo craft revival discussed in the case study started operating in this decade, initiating a new era of indigo production that brings together tradition and innovation. Owing to this revival, the processes of planting, harvesting, fermenting, dyeing and weaving have been passed on over the centuries, and indigo has become the key cultural identity of Sakon Nakhon. Indigo products embody traditional craft knowledge and practices, enabling relationships between different groups to be sustained – local community weavers and designers educated outside of the province, producers with a wealth of traditional knowledge and new consumers.
This age-old craft, developed in close relationship with the land, was transmitted through the generations until modern production technologies of industrialisation overshadowed traditional practices. Thanks to a small number of pioneers, however, the craft was revived during the 1990s and has evolved since into a vibrant creative scene combining local wisdom with modern design influences. The renewed interest in traditional techniques, indigenous knowledge and environmental sustainability has instilled new energy into other sectors, such as agricultural production and sustainable farming.
In the past ten years, Sakon Nakhon has been developed on the basis of its agricultural resources. There has been a continuous increase in creative activities and businesses developed by citizens who moved back after working in other cities and regions. Since 2016, there has been rapid growth in creative networking and businesses around Sakon Nakhon and surrounding areas. Sakon Hed started out as a network of creative entrepreneurs involved in developing locally branded products that are modern, natural and sustainable. The network hosts the annual Sakon Hed festival (เท่ศ์กาลสกลเฮ็ด),
which has now become the biggest creative event in Sakon Nakhon. The festival aims to promote local wisdom, products, services and brands as well as raise awareness of the growing creative activities in this region.
The uniqueness of Sakon Nakhon’s creative scene is in the somewhat disperse nature of its members.
Traditional weaving communities are distributed across the province, while a growing base of returning talent gathers every year at the Sakon Hed festival, driven by an interest in crafts as well as a commitment to Sakon Nakhon and its traditions. Close relationships such as familial bonds and friendships are the drivers of fruitful collaborations: families and community groups can rely on shared resources to sustain their businesses, while a network of friends and volunteers can mobilise enough resources to create a yearly gathering during which ideas are exchanged and collaborations are arranged. As Sakon Nakhon gains prominence as a creative district in Thailand, the focus is on balancing environmental, economic and social sustainability.
Sakon Nakhon is famous for indigo dyeing and textile weaving. Sakon Nakhon is one of the largest provinces in northeast Thailand, at 9,600 square kilometres. Its history can be traced back more than 2,000 years through fossil and archaeological records. During the tenth century, Sakon Nakhon was called Muang Nonghan Luang (เมืองหนองหารหลวง) and was a major city of the Khmer Empire, until a long drought led to its depopulation. It then became part of the Lan Xang Kingdom อาณาจักรลานชีาง) from the 14th century and had a close relationship with the city of Vientiane in Laos. During the time, Sakon Nakhon was known as Chiang Mai Nonghan ( เชีียงใหม่หนองหาร) and was influenced by Lao cultures and traditions. During the Rattanakosin period, King Rama I (who ruled from 1782 to 1809) renamed the city Sakon Tawapi (สกลท่วาป์ี), which later changed to Sakon Nakhon (สกลนคร), meaning the City of Sakon.
[pg94] Sakon Nakhon is known as a cultural and religious city. There are more than 400 Buddhist temples.Many of them are Dhammayuttika Nikaya (นิกายธรรมยุต) or Buddhist forest monasteries (วัดป์่า), which focus only on scriptural study of the earliest existing Buddhist texts and meditation practices.
The CEA‘s mission to model Charoen Krung as its flagship creative district, to learn from and develop other cities around Thailand, provides strong motivation. The CEA is playing a key role in linking public and private sectors such as the district offices, Thailand Tourism Authority, local businesses and communities, so the district can headline major festivals such as Bangkok Design Week to engage with a broader national and international creative network. This is undoubtedly succeeding in boosting creative activities in the district, in turn attracting a diversity of talents, start-ups, business ventures and tourism – and generating further cultural, social and economic capital.
Building on Deep and Diverse Cultural Roots
Charoen Krung has one of the oldest communities, having multigenerational settlements for more than 200 years. Family-like bonds within communities are further anchored by established educational, religious and cultural institutions, housed within heritage buildings that have etched various architectural and ethnic influences over the decades. These places maintain the community fabric by continuing to be spaces for gathering, learning, sharing and celebrating traditions, identity and knowledge that enable creative practices such as Islamic art, calligraphy and dragon dance to be passed on. These cultural assets are inspiring a new generation of creatives to set up events and businesses in restored heritage buildings, allowing them to enjoy the markets, participate in festivals, attend exhibitions or socialise in cafes, bars and restaurants. Peppered along narrow streets, these cultural pockets are a rare find in contrast to the congested and densely developed urban environment.
Sustaining Trade Centres
Charoen Krung Road continues its 19th century heritage as a centre of international trading. The area is adjacent to major business centres served by vital arteries such as the Chao Phraya River, Silom Road and Sathorn Road, where time honoured establishments can be found – such as the Siam Commercial Bank, the Bangkok Bank, the Jewelery Trade Centre and new business districts containing law firms, insurance companies, banks, fine dining restaurants, luxury hotels, spas andhealthcare centres. While some businesses may have moved their headquarters elsewhere due to lack of space and parking issues, many still see importance in maintaining a presence in the area.
With excellent transportation links and proximity to many different types of businesses alongside its growing creative credentials, Charoen Krung is an attractive place for start-ups and design studios to operate from.
Executive Summary Sakon Nakhon
Located in Isan (อีสาน), Thailand’s largest region, and surrounded by lakes, rivers, wetlands, mountains and extensive farmland, the province of Sakon Nakhon (สกลนคร) is famous for its indigo-dyeing and textile-weaving production. Its capital city, also called Sakon Nakhon, was awarded the title of Craft City from the World Craft Council in 2017, and is gaining international recognition for its naturally dyed textiles.（pg.88）
The CEA is arguably the main driver of creative activities, with a mission to boost the creative economy and activities in Charoen Krung. It plays a vertical, linking role in channelling resources and people to encourage collaborations and investments from within and outside the district.
This can be observed in the successful renovation of Warehouse 30, noted as a key creative hub earlier, and hosting Bangkok Design Week by working closely with a number of local businesses in the area as well as external organisations to set up events and activities. The CEA does well in bringing groups of artists and design students, freelancers, studios and start-ups from outside Charoen Krung to showcase their work in noted creative spaces such as O.P. Place, River City Bangkok and House No. 1. The CEA’s multi-sector links, including private businesses, universities and public sectors such as Thailand Tourism and district offices, make it an important and powerful agent. Such observations allow this study to affirm that policy and central government initiatives through the CEA are largely responsible for Charoen Krung’s development as a creative district, in contrast to other districts studied – where development is attributed to local, existing and emerging cultural and creative assets.
Yet as discussed in the previous section, the CEA may need to play a stronger bridging role to connect horizontally between local businesses and communities by capitalising on their effectiveness in organising events. While businesses are more likely to connect vertically with public sectors such as the CEA, Thailand Tourism and district offices, they will need more assistance to connect with local communities and build on opportunities to work together to avoid potential divisions and inequality in access, wealth and knowledge – as seen in fragmented communities globally.8 The Co-create Charoenkrung project, initiated by the TCDC, was a welcome example of bridging constructively.
The TCDC organised various listening and co-design sessions with the community to learn what residents wanted to improve in their neighbourhood. This resulted in prototypes and models of some of the ideas that the residents came up with, such as providing signage to allow easier navigation through the neighbourhood, creating green pocket spaces, connecting alleys, rejuvenating and repurposing old buildings and redeveloping the riverfront.9
Key Characteristics of Charoen Krung ’s Creative District
Examining Charoen Krung through multiple dynamic layers and assets allows this study to arrive at the following assessment of the role of this particular creative and cultural district. A Govenment-Designed Creative District Investment, resourcing and strategic planning by the Thai government are central to Charoen Krung’s public recognition as a creative district.
Bonding relationships are strongly evident in various older communities in Charoen Krung. Like a family, these bonds and relationships are important in maintaining a sense of trust and belonging. Participants from both the Haroon Mosque and the Talad Noi communities shared how they cherish community knowledge, culture and history.
Most members of the Haroon Mosque
community are blood-related with extensive kinship ties. The leader of the Haroon Mosque community is considered a father, a senior brother and an uncle to those in the community. He is also a key connector to organisations such as the Bang Rak District Office and universities. His son teaches Arabic calligraphy at the Haroon Mosque as a way to pass on the knowledge and techniques of Islamic art. Similarly, Talad Noi is a close-knit Chinese community with a 200-year history in the area. The majority who live here have Hokkien roots and their bonding relationships also reflect their lineage.
The leaders of the Talad Noi community collaborate with public sectors and organise creative events such as the Awakening Bangkok festival of light, as discussed earlier. Bonding relationships can be a double-edged sword if they are insular and inward-facing, relying entirely on family networks. This has been identified as a barrier in developing new relationships with others, preventing new information and resources to be exchanged.6
Similarly, this study has observed how the bridging relationships between the leaders of the two communities is tenuous, even though there may be informal and serendipitous mingling amongst the rest of the community through markets and festivals. Respective leaders of each community had never met each other until a workshop was conducted by the researchers, revealing how little they knew about one another.
They reasoned that they had no formal ways to connect or collaborate. Their communities are located in different districts – the Haroon Mosque community is in the Bang Rak district while the Talad Noi community is in the Samphanthawong district. It appears that such district divisions have not been conducive to working together, even when they are involved in organising festivals. Such siloed structures of bureaucracy are well-known barriers for collaboration and creative innovation.7
This lack of bridging relationships may further explain a lack of connection between the old Muslim, Chinese and local communities and the new creative groups who are starting to establish themselves in the area. The workshops revealed how local businesses and communities were not connected well horizontally, indicating a need and opportunity for local government and the CEA to broker such links more effectively in the future.
There are many activities all year round in Charoen Krung that bring local residents and visitors together. Markets, events and festivals are a chance to see the diversity of cultures, experience a range of foods and learn about crafts, beliefs and lifestyles. These activities can be grouped into
cultural and creative events.
Cultural events include community walking tours, the Vegetarian Festival (เท่ศ์กาลกินเจ), the Ancestor Worship Festival (เท่ศ์กาลสารท่จีน), the Lantern Festival and Chinese New Year (เท่ศ์กาลหยวนเซียว), which have mostly been organised and led by local communities. These events are important opportunities that draw the community together, strengthen relationships between different generations and pass on traditions from the older to the younger. For example, the Chow Sue Kong shrine regularly has many events and festivals, beautifully decorated during such occasions to perform rituals and dragon dance. Regular fresh markets also serve different communities.
Prominent creative events include Bangkok Design Week, TEDxCharoenkrung, art and design exhibitions and the Awakening Bangkok festival of light. These are notable for making Talad Noi an attractive area for visitors, and in turn, what was just a residential Chinese neighbourhood has now become a prominent cultural tourist spot in Bangkok. Most creative events are supported by
governmental organisations such as the CEA and Thailand Tourism. Bangkok Design Week5 is
significant to the development and sustainment of the creative district. It generates a lasting and
memorable impact and also brings market opportunities to the creative businesses. Events such as this are part of a creative economy development plan by the CEA. These public events take place in prominent locations introduced under hard infrastructures, such as the Grand Postal Building (headquarters of the CEA), Warehouse 30 and also in other venues such as the River City Bangkok shopping centre, O.P. Place and O.P. Garden
Enduring and Sustaining Various Cultural Communities
Charoen Krung has one of the oldest communities in Thailand, based on a solid relationship built over more than 150 years. These enduring communities represent the largest groups of people who live together, take care of each other and share similar beliefs and practices. As noted already, cultural and creative events become important mechanisms to transfer local wisdom from generation to generation. Retaining a strong sense of community is unique in an ever expanding megacity such as Bangkok, which in turn is vital in regenerating rich social capital. This is expanded upon in the next section.
Building Social Capital in Charoen Krung
As an urban neighbourhood in Bangkok, there is a large and complex ecosystem with many actors
involved. Characteristics that were identified in these actors that enabled the sustainment of this
ecosystem includes acting as a connector and introducer, being collaborative, relatable, genuine,
local, trustful, sustainable and contributing to the organisation of events. The workshop with its
residents identified a complex social network of individuals, communities, businesses, educational
institutions, public and private sectors that form Charoen Krung (p. 86, fig.2). From this, two key
features of social capital stand out in shaping the ecosystem of the creative district.
Charoen Krung Road is the main artery through the district, connecting Yaowarat and Rattanakosin Island (เกาะรัตนโกสินท่ร์). The Charoen Krung area is walkable, allowing visitors to explore tourist landmarks, cafes and galleries. From the Grand Postal Building where the CEA is located, it is only around a one-kilometre walk to the Saphan Taksin BTS station (สถานีสะพัานตากสิน), situated at a prime location on the riverside, adjacent to Surasak station (สถานีสุรศ์ักดิ), Chong Nonsi station (สถานีชี่องนนท่รี) and Sala Daeng station (สถานีศ์าลาแดง), where the main business areas are located. Saphan Taksin station is Charoen Krung’s main transportation hub and the most crowded skytrain station in Bangkok, with more than 27,000 commuters. It was built in 1999 as the terminal station on the Silom Line, though now that line extends to the Thonburi area (ฝั่ั งธนบุรี) and terminates at Bang Wa station (สถานีบางหวา). The congestion and increased demand have led to plans to expand and reconstruct Saphan Taksin station.
(Street art around Talad Noi neigbourhood)
Charoen Krung has other access points, across Taksin Bridge and Taksin Bridge Pier. Built in 1980, Taksin Bridge, also known as Sathorn Bridge (สะพัานสาธร), crosses the Chao Phraya River connecting Bangkok and Thonburi, providing the shortest route to reach the busy areas of Sathorn and Silom Road. Commuters using the Chao Phraya Express Boats (เรือด่วนเจาพัระยา) travel to
Charoen Krung, Sathorn and Silom using Taksin Bridge Pier.
Soft Infrastructures
As one of the oldest neighbourhoods in Bangkok, Charoen Krung has a rich, diverse mix of cultures, communities and languages, shaped by various waves of migration. Grounded and nourished by strong and stable community groups, new creative businesses and communities are increasing in
number since Charoen Krung’s designation as a creative district. The area is experiencing the
benefits and challenges of this influx of new people, including tourism, accelerated by the
creative opportunities provided by the area.
The TCDC and CEA
The Thailand Creative and Design Center (TCDC) was founded in 2004 as part of the Office of Knowledge Management and Development, reporting to the Office of the Prime Minister (สำานักนายกรัฐมนตรี) and originally located at the Emporium shopping centre in the Phrom Phong
area (ย่านพัรอมพังศ์์) on Sukhumvit Road (ถนนสุขุมวิท่).
The TCDC is a public-facing organisation to raise awareness about the value of design, and support creative activities and businesses. It is active in organising events to connect designers, suppliers and clients, with seminars that encourage creative development and showcase the latest design trends. It acts as a key connector in the creative ecosystem, providing services such as a design library, material library, exhibition spaces, designer network and database. Its relocation to Charoen Krung in 2017 aimed to drive the urban renewal of the area and develop it as Bangkok’s first creative district. In 2018, the TCDC expanded into a larger organisation with the new task of encouraging the creative economy, and was renamed the Creative Economy Agency (CEA).
It is the first house number in this district, with a unique blend of Thai-Western neoclassical design, making it a landmark venue for hire. Contemporary landmarks are also noteworthy – for example, standing tall behind the Grand Postal Building is CAT Tower, where the Communications Authority of Thailand and Silpakorn University (มหาวิท่ยาลัยศ์ิลป์ากร) are located. Many design and digital media students mingle here with other workers that use it as offices. Some unusual places have also become tourist attractions.
Sathorn Unique Tower (สาท่รย้นีคท่าวเวอร์) was planned as a luxury apartment complex but was abandoned in the 1997 financial crisis and became home to itinerant squatters. Urban myths sprung up that it was a haunted building and it has since become an unusual tourist destination.
Tourism is a key driver of Charoen Krung’s creative economy. While the area has historically attracted affluent visitors and foreign travellers, its emergence as a creative district has attracted more cultural tourists to the area.
Its riverside is populated with luxury hotels, such as Mandarin Oriental Bangkok, the first hotel here, with a 150-year history and famous for its hospitality service training in Thailand. Other well-known hotels within the vicinity include Shangri-La Bangkok, Royal Orchid Sheraton Hotel and Lebua. Most riverside hotels have their own private piers in order to shuttle their guests between the east and west bank of the Chao Phraya River.
Religious and Educational Structures The diverse cultures are reflected in various clusters of schools, churches, temples, shrines and mosques that exist side by side, reflecting Charoen Krung’s historical settlement. Religion has always been an important aspect of life here so it’s no surprise that schools are strongly linked to religious organisations. These infrastructures serve people with different beliefs, mainly Christians, Muslims and Chinese. Assumption College and Assumption Convent, both located on Charoen Krung Road, are Catholic schools next to Assumption Cathedral (โบสถ์อัสสัมชีัญิ บางรัก) – a key landmark in the area.
These schools provide education to the Christian communities that live nearby. Other schools include the Bangkok Christian College (โรงเรียนกรุงเท่พั คริสเตียนวิท่ยาลัย), Sajja Pittaya School (โรงเรียนสัจจพัิท่ยา)– which is a Chinese (Cantonese) school built in 1919 – and Buddhist schools such as Satree Wat Mahaprutharam Girls’ School (โรงเรียนสตรี วัดมหาพัฤฒิาราม) and Wat Mahunnopparam School ( โรงเรียนวัดมหาพัฤฒิาราม), which is reported to be the first public school in Thailand.
Talad Noi (ตลาดนอย) in the north has a mix of Chinese, Catholic and Vietnamese buildings. The Holy Rosary Church (โบสถ์กาลหว่าร์ หรือ วัดแม่พัระล้กป์ระคำา) was built for the Portuguese Catholic community, the Vietnamese Temple (วัดญิวนตลาดนอย) there celebrates Mahayana Buddhism, and the Chow Sue Kong shrine (ศ์าลเจาโจซือกง) is one of the oldest Hokkien shrines in Thailand.
Other buildings include Hong Wong Kun (ศ์าลเจาโรงเกือก หรือ ศ์าลฮอนหว่องกุง) for Hakka descendants, the Muang Kae temple (วัดม่วงแค) for local Thai Buddhists, and the Haroon Mosque (มัสยิดฮาร้ณ) for its strong Muslim community.
These religious institutions are also important places to learn traditional arts, such as Arabic calligraphy, which are taught to children in the community at the Haroon Mosque. Famous for its Islamic art, it also provides classes to the public.
Nearby the pier, O.P. Place on Charoen Krung Road Soi 38 has been a commercial building for more than 100 years, and it won the Association of Siamese Architects’ Best Architectural Conservation Award in 2008.
Currently it has more than 58 stores, mostly selling luxury furniture, art, antiques and homeware,
and is now one of the best places for buying art in the area.3
Next to O.P. Place is O.P. Garden, which was built in the 19th century and is located on Charoen Krung Road Soi 36. In 1936, it was turned into the first polyclinic in Thailand, where Dr Boonsong Lekagul (นายแพัท่ย์บุญิส่ง เลขะกุล) worked as a medical practitioner. 4 O.P. Garden was also the private residence of Dr Boonsong, who later became a pioneer of wildlife conservation in Thailand. In
2009 it was renovated by TCC Capital Land and became a shopping arcade with a focus on art,
design and craft.
River City Bangkok is another art and craft shopping centre in Charoen Krung. It was built in 1985 by the Italian-Thai Development Public Company (กลุ่มบริษ์ัท่อิตาเลียนไท่ย) and the Mandarin Oriental Group (กลุ่มกิจการแมนดารินโอเรียนเต็ล). River City Bangkok was the first commercial mall on the riverside in Thailand and it has more than 120 creative stores and contemporary galleries inside with collections from Asia and around the world.
It is also an art and antique trading centre holding RCB auctions. Since its opening there have been
more than 90,000 antiques sold in the RCB forum, a magnet for collectors and traders from around
the world. Iconic Landmarks
Many iconic buildings are situated along the river next to well-known tourist attractions. Several of
these are heritage and conservation listed, being more than 100 years old, representing early modern, Western-influenced architecture in Thailand. For example, the Portuguese Embassy was marked out as an important creative landmark due to its cultural significance, architectural heritage and contemporary street art on the front wall. Its presence indicates the long relationship with Portugal, as many Portuguese have settled here since the 1760s.
The colonial-style building, which was designed in 1860 using local materials, welcomes visitors and provides tours. Another landmark is Custom House, built in 1886 in a neoclassical style, which was used as a customs office and hosted royal events in its banquet hall until 1959. It later became Bang Rak fire station (สถานีดับเพัลิงบางรัก) and then remained empty until 2019, when the owner, the Treasury Department of Thailand (กรมธนารักษ์์), began work with the Fine Arts Department of Thailand (กรมศ์ิลป์ากร) to restore the building, which will continue until 2025.
Charoen Krung Road Soi 30 (ซอยเจริญิกรุง 30) or Captain Bush Lane (ตรอกกัป์ตันบุชี) is an important
historical area of this district that housed early Western settlement. The name hails from John
Bush, a British sailor who lived on this lane and worked as the head of the Marine Department of
Thailand at the end of the 19th century. Captain Bush Lane connects to the main Charoen Krung
Road where House No. 1 (บานเลขท่ี 1) is located.
As an area continuously developing since the 1700s through successive waves of migration, settlements and royal initiatives, Charoen Krung’s hard and soft infrastructures are layered with various historical, cultural and commercial influences
Hard Infrastructures
Another unmistakable place for gathering is the Grand Postal Building (ไป์รษ์ณีย์กลางบางรัก), which Long established hard infrastructures such as major arteries and buildings have been developed further through increased investment since Charoen Krung’s designation as a creative district in 2015. New BTS and MRT train extensions make it a major transportation hub, while the river that made it conducive to early trade gives this area a unique advantage for businesses to continue to prosper. As with many old districts, the long, narrow streets and small shops have discouraged large-scale urban development, keeping its underlying historical character intact.
Creative Spaces for Gathering There are a growing number and variety of art spaces and galleries around Charoen Krung.
Warehouse 30 is the most prominent. Located amongst abandoned warehouses behind the Portuguese Embassy, Warehouse 30 became a บ landmark when Mr Duangrit Bunnag (ดวงฤท่ธิ นนาค), a famous Thai architect and a key player in this district, renovated the warehouses into an art and design hub and market in 2016. His previous project, the Jam Factory, was very successful in turning another abandoned warehouse in Klongsan into an attractive art space. Warehouse 30 is home to a cafe, co-working space, art spaces, design shops and furniture store P. Tendercool, and it regularly provides public talks, events and exhibitions. It has become a creative hub for designers, artists and craftspeople to showcase and market their work. Another unmistakable place for gathering is the Grand Postal Building (ไป์รษ์ณีย์กลางบางรัก), which was the British Consulate during the 1850s before that moved to Phloen Chit Road (ถนนเพัลินจิต) in 1940. Thereafter it was renovated and used as the headquarters of Thailand Post, marking the birthplace of Thailands’ postal service.2 In 2017, the TCDC moved its main office here with a mission to develop it as a creative district, making it a hive of creative activities and events. The CEA also plans to use abandoned spaces in Charoen Krung for art and design exhibitions – for example, Marine Police Lodging (บานพัักตำารวจนำา) and the Custom House (โรงภาษ์ีรอยชีักสาม).
Aside from the landmarks mentioned above, there are three other prominent art centres – O.P. Place, O.P. Garden and the River City Bangkok Shopping Centre, near Si Phraya Pier (ท่่าเรือสี พัระยา). The pier, the largest in Charoen Krung, is next to a bus terminal. Si Phraya Pier is also located near luxury hotels as well as connecting to ICONSIAM, the largest shopping centre in Thailand, across the river.
挪威建築理論家諾伯-舒茲（Christian Norberg-schulz）1979年出版了《場所精神：邁向建築現象學》（Genius Loci: towards a phenomenology of architecture）（施植明中譯，1995），書中闡述了源自古羅馬的人所認為「場所精神」，認為「每一種『獨立的』本體都有自己的靈魂（genius），守護神靈（guaraianspirit）這種靈魂賦予人和場所生命，自生至死伴隨人和場所，同時決定了他們的特性和本質。」而這就是「場所精神」。諾伯-舒茲提醒場所（地點，place），不是物理學向度的空間（space），而是與社會文化連結，進而產生意義與認同的地方。
（摘自：《追憶似水年華》[法語：À la recherche du temps perdu，英语：In Search of Lost Time: The Prisoner and the Fugitive]，[法国]馬塞爾·普魯斯特 [Marcel Proust ，1871年—1922年] 的作品，出版時間：1913–1927，共7卷）
如今，沙巴人对马来亚的不满之声越来越强烈，无法被忽视。最终，这种声音将变得如此响亮，以至于马来亚只能通过压制和镇压来回应。但到了那个时候，若马来亚仍不倾听、不采取行动，他们终将自食其果。同样，这一原则也适用于沙巴的政治领袖。（Sabah rights: Story so far and what next by Anuar Ghani，Published on: Sun, Aug 22, 2022，Daily Express，Sabah) 相關：Open letter to heads of Sabah Parties，By:Datuk John Lo）
这在关于确立人民对沙巴及《1963年马来西亚协议》（MA63）权利的意愿方面，明显存在严重缺失。沙巴政府应当对MA63权利作出明确立场，聆听并咨询人民的意见，整理这些诉求和不满的清单，建立一个机制和机构，以表达、制定和谈判这些诉求。(下續) （Published on: Sun, Aug 22, 2021 Daily Express Sabah；愛墾網翻譯）
1865: American Trading Company of Borneo concession
1875: William Cowie Treaty with the Sultan of Sulu
1877 & 1885 (Protocol Madrid)
1877: Brunei’s Grant to Baron von Overbeck
1885: Madrid Protocol, recognition of Spanish rule over the Philippines
1881 1883 (ODA British Enclave)
1881: British William Torrey’s Sabah expedition
1882: British North Borneo Company charter
1883: British North Borneo Company grants land to German traders
1877, 1878, 1885 & 1905 (Brunei vs Sulu's Bayan or Enclave)
1884: Alfred Dent’s letter
1884 1902 (Sultan of Brunei & The Pangarans, British North Borneo Company)
Agreements and correspondence related to the British North Borneo Company and Brunei
1885 (Brunei Document)
1885: Sultan Abdul Mumin Wills
1888, 1905 & 1906 (Protectorate Agreement)
1888: Protectorate Agreement
1905: Protectorate Treaty
1906: Brunei (Protectorate) Document
1906 (Labuan, North Borneo & Straits Settlements)
1906: Transfer of Labuan to the British Crown Colony
1930 (Britain United States)
1930: Treaty between Britain and the United States regarding North Borneo & Turtle Islands
1946, 1950 1958, 1962 & 1963 (The North Borneo Order in Council)
Documents related to North Borneo’s transition under British rule
1963 (Malayan Agreements & Treaties)
1963: Malaysia Agreement, Malaysia Act & Final Proclamation of Malaysia
1930 (Britain United States)
1930: Treaty between Britain and the United States regarding North Borneo & Turtle Islands
1946, 1950 1958, 1962; 1963 (The North Borneo Order in Council)
Documents related to North Borneo’s transition under British rule
1963 (Malayan Agreements Treaties
1963: Malaysia Agreement, Malaysia Act; Final Proclamation of Malaysia
This timeline presents a structured historiographical account of North Borneo (Sabah) and Brunei, covering centuries of treaties, agreements, and engagements with British, Dutch, Spanish, American, and local rulers.
Over 300 Years of Old Documents, Treaties, and Engagements, Orders of Her Britannic Majesty in Council, the United States of America and the Netherlands
16th to 17th Century (Between 1500 - 1601)
1599: Letter written by Admiral Oliver van Noort to the Spanish Governor of the Philippines
1601: Captain Sir James Lancaster’s expedition to Borneo and Brunei
18th to 19th Century (Between 1700 - 1801)
1760 1769 (British Sulu Bornean Chief)
1760: English East India Company Document
1761: Alexander Dalrymple Treaty & Ratification with the Sultan of Sulu
1762: British invasion of Manila
1763: Treaty of Paris; Spanish lost Manila to the British
1769: First British settlement in Borneo established by the English East India Company
19th to 20th Century (Between 1800 - 1901)
1843-1878 (British Brunei Sulu)
1843: Sultan Muhammad Kanzul Alam to Britain
1846: British annexation of Labuan
1878: Treaty between the Sultan of Sulu and Baron von Overbeck & Alfred Dent
1878: Grant from the Sultan of Brunei to Baron von Overbeck
＊「網球場的蛇蘋果汁的誓言」一行的原文是：le serpent du jeu de Paume le serment du jus de Pomme。這是作者慣作的諧音文字游戲，其戲謔處譯文無法傳達。「網球場的蛇」(Serment du jeu de Paume)，後者為一歷史事件：一七八九年六月廿九日，法國三級會議中的第三級議員在網球場立誓，「不制訂憲法不散」，以反抗暴君。蛇與蘋果則來自聖經夏娃的故事，作者把它寫成「蘋果的誓言」(le serment du jus de Pomme)。（Jean-Marie Schiff、陳瑞獻合譯)
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北根華人紥根印記
隨着華人外遷，現居於北根的華人可謂少之又少了。那裡沒有華人新村，要追溯北根華人的史跡可從原位於北根舊市鎮(Pekan Lama)，擁有超過200年曆史的大伯公廟得知，可見華人先賢早在那時已在北根紥根了。大伯公廟於2001年搬遷至新建竣的列聖宮，廟裡一些約200年曆史的神像、石碑和木燭颱等也一並遷至宮裡。每逢神誕慶典，那裡更是迎來許多善信誠心膜拜。
北根列聖宮。
北根附近還有什麼好玩？
蘇丹阿佈巴卡湖畔公園 (Taman Tasik Sultan Abu Bakar)
位於北根汽車城附近的蘇丹阿佈巴卡湖畔公園是個環境優美的休閒好去處。每天黃昏時分那裡都迎來許多市民在散步、聊天和打羽球等。公園裡的美麗湖泊也吸引了垂釣者，夕陽灑在湖光瀲灩的湖麵，有種詩情畫意的意境。公園裡的Inderapura Lake Resort也爲遊客提供住宿服務。
蘇丹阿佈巴卡湖畔公園裡的象牙塔。
髮現那示純樸之美 那示 (Nenasi)
逛完了北根的各個景點，如果你還意猶未儘，可計劃來個短程的濱海公路之旅，到美麗的那示 (Nenasi)踏浪去。你可取道北根大街的Jalan Sultan Ahmad，即3號公路一路以南往雲冰和新山的方向走，行駛約40公裡後即抵達那示。
車子越靠近那示，能目睹長長的海岸線、大片的椰林和海邊住屋。轉入那示左邊靠海的小鎮，一路可來到海岸處。由於那裡不是旅遊景點，故沒有遊客在那兒弄潮，可在那欣賞碧海藍天的美景。
那裡也有一個獨特的情景，就是有座建在沙灘旁的啟華小學。於1941年創辦的啟華小學是座微型小學，學校共30位學生中隻有1位是華裔生。由於就建在沙灘旁，故學校總被海浪奏鳴曲包圍着，海風也在課堂間偷偷吹拂而過。
離開沙灘後可前往一旁的漁村參觀。那示居民多以捕魚和螃蟹爲業，漁夫們都搭建了一條條小木橋以通往自己的小碼頭。那裡還有一個自然特色就是河邊會有許許多多的“小山丘”。“小山丘”原來是沼澤裡的小螃蟹長年累月吐泥而形成的自然生態。據漁夫透露，小山丘已在那屹立多時了。
那示出産的新鮮Keropok Lekor遠近馳名，如果你到碼頭旁的Keropok工廠選購，時間爲早上9時至中午12時，記得要趁早哦！那示是個平靜且風光明媚的靠海小鎮，如果你計劃在那兒消磨假期，可聯絡Nenasi Motel獲取出海釣魚的資訊。
Nenasi Motel
地址：Nenasi,26680 Pekan,Pahang.
電話：013-956 6565/012-953 3906 (Matt Maggie)
價錢：-出海釣魚配套 RM1,700 (兩天一夜，一艘船可容納約6個人，住宿和膳食等全包，除魚 竿道具自備)
-普通房RM70 (可容納約4個人)
特色：一站式出海釣魚配套，新加坡遊客也遠道而來。短暫留宿的話可到無人海邊走走，並體驗小漁村的悠閒風情。
建在沙灘旁的那示啟華小學。
從校園往外望就是南中國海了。
靠海的那示啟華小學。
尋找那示的“小山丘”。
那示漁夫的小碼頭。
那示漁村風光儘覽。
北根美食推薦
餘美記餐館
北根的華人不多，位於大街上的餘美記傳統餐館可是碩果僅存的華人餐飲業者之一。經營約50年的老字號餘美記已輪到第三代後人接手掌管。值得一提的是餘美記有著名傳統自家打製的麵條，其Q 軟的麵條無論是幹或溼炒都那麼口感完美。
推薦美食：咕嚕肉、炸雞飯、炒麵
營業時間：中午12時至3時，傍晚6時至8時(每逢星期一休假)
餘美記擁有著名的傳統自製麵條。
必嚐炸雞飯。
樹下煎蕊 (Cendol)
北根的大熱天午後常迎來許多知食者到河畔旁來一碗冰涼的煎蕊。老樹下涼風習習，您可隨意選任何一個賣煎蕊的檔口坐下，麵對河畔風光享用美味的煎蕊，度過冩意的下午。
價錢：煎蕊每碗RM1.50，Rojak RM3.00
如何前往北根
-從東海岸大道取甘孟(Gambang)出口轉入2號公路往關丹的方向，留意半路位於右邊轉往北根的出口，行駛約35公裡後即抵達皇城北根。
-從關丹可取道Tanjung Lumpur大橋沿着183號公路前往北根。
-可在完成你的肯逸湖(Tasik Chini)之旅後，駛入 82號公路往北根的方向，沿着彭亨河一路來到北根。
*如果你還想繼續這趟濱海公路之旅，請翻閱第26期《旅遊玩家》，以獲取關於東海岸以南3號公路的旅遊資訊。圖文提供：《旅遊玩家》; Related Article ~~
Dec 14, 2023
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柔佛峇株巴辖：多年未有新外资，盼河岸特区带来突破
柔佛投资、商贸及消费人事务委员会主席李廷汉坦言，峇株巴辖已多年未有新外资进驻，现在多是在原有的在地企业基础上进行扩展，希望未来能透过各项计划，为峇株巴辖带来发展。
他昨晚为峇株巴辖中华总商会“第17届工商展销会”主持开幕时说，希望未来能透过重启隆新高铁计划、外环公路，以及“峇株巴辖河岸特区”发展计划，为峇株巴辖的经济领域带来更多元的发展和转型。
出席者包括商会领导许常健、傅庆隆、国明发和陈惠国等。
他说，隆新高铁计划征集企划书反应热烈，但最快也要至2024年中旬才能有进一步的结果，虽然现阶段不能确定位置，但隆新高铁的其中一站肯定会设在峇株巴辖。
他指出，“峇株巴辖河岸特区”发展蓝图现公开展示一个月，透过这项发展计划，涉及范围内土地将进行规划和发展，包括重整河岸的工业地和码头、强化现今已少见的“物物交换”码头等。（2023年12月8日星洲日報；原題：李廷汉：多年未有新外资进驻，盼未来透过计划发展峇株）
网络资料显示，任何需要中央政府拨款的大型计划，须拟定特区发展蓝图（RKK）向首相署经济策划单位（EPU）申请拨款。
当发展蓝图拟定好，并开始展示时，不论民众、商界代表、社团领袖、非政府组织代表或任何利益相关者，都应认真查看蓝图内容。
当蓝图列明分区（zoning），做好土地用途的规划后，如果你的工厂不是位于工业分区，就只能申请临时的规划许可证（KM），所以必须在特区发展蓝图还未成为定案之前，提出意见或反馈。”
计划中的峇株巴辖第二物流码头，将设有海关、移民与检疫中心（CIQ）。
上述特区发展蓝图有提出建议，要整顿及“漂白”非法工厂及民宅，另针对海岸侵蚀、水灾及交通阻塞问题等，提出解决方案，并有意强化峇市的“物物交换”码头运作，民众应针对这些发展规划提出意见。
有关细节内容丰富，敬请点击 ～～
峇株巴辖河岸特区发展蓝图内容 ～～
Dec 24, 2023
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Muzium Sultan Abu Bakar
開放時間：早上9時30分至下午5時 (星期二至星期日) 早上9時30分至中午12時15分，下午2時45分至5時(星期五)，逢星期一和開齋節首日休館
地址： Jalan Sultan Ahmad, 26600 Pekan, Pahang.
聯絡電話：09-422 1371
收費：RM5 (馬來西亞公民)，RM4 (彭亨州子民)，身着校服學生和12歲以下孩童免費
彭亨蘇丹乘坐的車子吸引了訪客目光。
水運交通陳列館 (Galeri Pengangkutan Air)
參觀了蘇丹阿佈巴卡博物館，可步行到對岸的Pulau Beram小島參觀水運交通陳列館。這座陳列館就坐落在小島上，也符合了船在水上的地理概唸，煞是有趣。此開放式的陳列館置放了衆多類型的船隻，包括早期在陸路交通還未盛行時，各類在彭亨河航行的船。值得一看的是當年前彭亨蘇丹循彭亨河出巡拜訪子民時所乘坐的大型木闆船屋，此富含紀念價值的文物至今仍完好並保留置放館內。
開放時間：早上9時30分至下午5時 (星期二至星期日) 早上9時30分至中午12時15分，下午2時45分至5時(星期五)，逢星期一和開齋節首日休館
地址： Jalan Sultan Ahmad, 26600 Pekan, Pahang.
收費：免費
位於小島上的水運交通陳列館。
當年彭亨蘇丹乘坐的木闆船屋展示館內部。
蘇丹阿都拉回教堂 (Masjid Sultan Abdullah)
參觀了兩館後，可再步行前往水運交通陳列館右方，參觀那曆史悠久的蘇丹阿都拉回教堂參觀。這建於1929年的“莫爾”式 (Moresque) 風格建築物擁有美麗的穹頂和精緻的伊斯蘭風格圖案，在1976年以前是北根穆斯林用作星期五祈禱和活動的重要地點。雖然回教堂已大門深鎖，但大家仍然可在外圍欣賞這座回教堂獨特的建築設計和拍照留唸。
如果你對逛博物館沒興趣，也可選擇到位於北根大街河畔的沿海遺産公園(Pesisiran Warisan Pekan)休閒走走，觀看那裡的美麗自然生態。當局在那裡設立了可讓遊客往下走的平颱，幸運的話，也能近距離觀賞到水鴨、螃蟹和四腳蛇等在河畔活動的畫麵。
在平颱處也可看到許多小船隻停泊在那，原來都是附近各小島居民外出的交通工具，也是那裡獨有的生活冩照。你也可沿着公園的人行步道漫步至不遠處的Pekan Riverfront，欣賞彭亨河口的明媚風光，那裡也是當地人最愛閒逛的地點之一。
曆史悠久的蘇丹阿都拉回教堂。
河畔旁的沿海遺産公園是歇息的好去處。
北根大街的老店屋。
繞皇宮一遊
Istana Abu Bakar
來到皇城北根要做的事，絶不能少了駕車繞皇宮外圍“遊車河”。每年除了10月24日彭亨州蘇丹生日時開放門戶迎接訪客外，其餘時候都是賓客禁步的地方。彭亨蘇丹嗜好打馬球(Polo)，由彭亨皇家馬球俱樂部舉辦的國際馬球賽，更是吸引了各國馬球好手前往北根參與比賽。
遊客可駕車來到皇宮大門外拍照留唸，再繼續沿路駛往彭亨皇家馬球和高爾夫俱樂部，在這兩個青蔥大草場外圍歇涼觀景。
北根大街的老店屋。
阿佈巴卡皇宮
已故前首相敦阿都拉薩出生地
參觀皇宮後，驅車前往進入北根的十字路口處，往Batu Balik的方向去。請留意路旁的告示牌，行駛約2公裡後轉右不久即抵達Kampung Pulau Keladi文化村了。
到訪者可先到文化村裡的敦阿都拉薩展覽廳(Galeri Tun Abdul Razak)參觀和了解關於前首相敦阿都拉薩的史跡，再步行到隔壁的前首相出生地和故居參觀。前任首相敦阿都拉薩也是現任首相拿督斯裡納吉的父親，展覽廳裡也可看到許多前首相一家人早期的合照和解説，可謂意義堪深。前首相敦阿都拉薩出生的屋子是傳統馬來高腳屋，儘管爲維護日久失修的屋子而修複了不少，但屋裡還保留了不少首相家人早年曾使用過的懷舊器具、寢室用品和櫥櫃等。參觀那裡後，可到對麵的彭亨絲綢紡織中心(Pusat Tenunan Sutera Pahang)參觀，以了解更多彭亨出産的絲綢佈料之製作過程。
Kompleks Budaya Kampung Pulau Keladi
開放時間：早上9時30分至下午5時 (星期二至星期日) 早上9時30分至中午12時15分，下午2時45分至5時(星期五)，逢星期一和開齋節休館
地址：Kampung Pulau Keladi, 26600 Pekan, Pahang
聯絡電話：09-422 1371
收費：成人RM1，小孩免費
Pusat Tenunan Sutera Pahang (Pahang Silk Weaving Centre)
開放時間：早上9時至下午5時(星期一至星期五，週末時間可緻電詢問)
地址：Kampung Pulau Keladi, 26600 Pekan, Pahang
聯絡電話：09-422 1371
收費：免費
敦阿都拉薩展覽廳內。
敦阿都拉薩故居裡的懷舊縫紉車。
前首相敦阿都拉薩出生地。
Dec 24, 2023
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彭亨皇城：北根
文/攝影_崔碧月 Text/ Photo _Moon Choi
彭亨州皇城北根(Pekan)是彭亨州蘇丹居住的地方，也是一座走過歷史的美麗市鎮。北根距離關丹約50公里，靠近彭亨海岸線與彭亨河口交界處，故那裡的自然風光更是美得動人。北根馬來風土民情濃厚，如你想要有個充實的假期，歡迎到那裡掀開皇城的一頁。
我對北根的印象，停留在小時候坐在大街老店屋前的河畔處，看着滿滿的浮生植物漂浮河上，和在壯大老樹下觀景的一刻。北根是一座慢活的市鎮，偶爾才車來車往的馬路是乘客南下到雲冰(Rompin)和柔佛新山(Johor Bahru)必經之路。
雖然我家離北根不遠，但發展緩慢的北根旅遊業亦不興盛，所以也未常前往。縱然如此，隨着近年來北根發展升格爲汽車城後(生産品牌包括Mercedes -Benz 和 Isuzu)，北根的旅遊景點也大肆修複，如今前往北根旅遊可是當地人的熱門點之一。
徒步可達各景點
説到北根就不得不提那曆史悠久的蘇丹阿佈巴卡州博物館(Muzium Sultan Abu Bakar)。這1948年開始作爲陛下已故蘇丹王室居所的Kota Beram皇宮，後期被改爲富有紀念價值的蘇丹阿佈巴卡博物館。
北根蘇丹阿佈巴卡博物館和對岸的水運交通陳列館(Galeri Pengangkutan Air)經多年關閉維修，終於在去年10月17日重新開放於民衆參觀。修複後的博物館果真截然不同，館內的設備和資料更加齊全，新穎的電子儀板解説器也讓參觀者更易明白歷史點滴。走在偌大新穎的英式建築內，輕易就能消磨一個充滿文化氣息的下午。
蘇丹阿佈巴卡博物館 (Muzium Sultan Abu Bakar )
博物館內收藏了大量的彭亨州古文物，如前任蘇丹穿過的服飾和馬球用具等。其他還有陶瓷、紡織品、彭亨原住民史籍和東海岸文化藝術品等。重開的博物館注入了歷史與藝術於一體的元素，當局在館外裝飾了許多創意造型的動物藝術品，讓參觀者感覺博物館生動起來，也消除了以往逛博物館是沉悶的印象。
Dec 24, 2023
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关丹县的土地面积为29万6042公顷，其中51.64%的土地面积可供发展使用，另11.29%的土地则在有条件的情况下可用作发展用途，至于剩下的37.07%的土地，则属完全不能被发展的土地，包括了森林、河流、湖沼等。
根据关丹未来的规划，关丹将通过6大主要发展走廊、5大次要发展走廊，以及4小发展走廊，把关丹未来的发展逐一联系起来。
蔡世才：可能商机
关丹2035年发展规划下的巨型的发展工程，对关丹市民有什么帮忙？市民该做好什么准备，以迎接当中可能出现的商机呢？
大马房地产发展商彭亨州分会主席蔡世才接受星洲日报东海岸社区报专访时说，“关丹2035年发展大蓝图”透露了关丹未来20年的发展大方向，关丹市民应该关注发展大蓝图的内容。
发展米昔拉巴洛旅游区
他说，大蓝图中规划了关丹各地的土地用途，通过了解大蓝图，我们可以窥探官方发展关丹的方向，如政府发展米昔拉及巴洛一带成为旅游商业区，以及重点发展KotaSAS成为州政府的行政中心。
“在这大蓝图里，我们也看到关丹国际机场坐落在空军基地附近，假如这设计真的落实，这一带将会成为关丹的交通中枢。”
出现新东海岸大道出口
他说，因为在大蓝图中出现一个新的东海岸大道出口，名为“机场站出口”，相信是要提升机场的四通八达。
“届时，连贯机场的交通除了普通公路外，机场搭客还可以直接上东海岸大道，或搭乘火车离开，非常方便。”
他补充，交通连贯对发展一个地方非常重要，相信如果大蓝图有关交通方面的建议落实的话，必能够带动整个关丹，尤其是甘孟路及KotaSAS一带的发展。
可通过大蓝图置业
他说，关丹居民可以通过研究大蓝图去置业，根据自己的需求在具有发展潜能的地区购买产业或投资。
关丹中华总商会会长拿督陶启联受访时说，中国投资及资金在关丹未来的发展上扮演一定的角色，可以协助加速关丹的发展。
他说，目前中国投资在马中产业园、关丹深水港口，还有东海岸铁路3个主要项目。
“这3个项目会是关丹未来经济发展主要动力，目前这3个项目也已动工，尤其是东铁和关丹深水港，绝对会带动关丹的经济发展，惠及关丹各阶层包括商贩。”
他说，在“关丹2035年发展大蓝图”中的关丹深水港口能够把中国的货船直接在关丹上岸，缩短海运成本及时间。
吁商家善用人脉争取商机
“我呼吁关丹的商家们善用人脉，争取经商机会。”
总的来说，关丹居民，包括商家、企业，甚至是小贩，都应该积极关注及参与关丹未来发展。
关丹市议会及大马规划局彭亨州分局为了收到更多民众的意见，已把原定于本月10日截止的公众咨询日期再展延1个月，以便让更多民众提出意见。
你对关丹2035年发展规划有什么意见？赶快乘公众咨询日期截止前向关丹市议会及大马规划局提出你的意见吧！（本文作者：LimLC；原题: 关丹2035年发展规划知多少？29.8.2017 星洲日報 ）
Jan 12, 2024
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关丹2035
关丹2035年发展规划知多少？
早在2015年，关丹已公布了“关丹2035年发展大蓝图”。但是，当时关丹还没有东海岸铁路这项巨型发展工程。
因此，彭亨城市及乡村规划局于今年7月11日，推介替代版的2035年关丹县地方规划草图，并再次公开向公众进行咨询。
星洲日报东海岸社区报将分3期向读者们介绍替代版的2035年关丹县地方规划草图内容，看一看关丹未来发展的规划，到底里面有些什么与你我生活相关的计划？
到底2035年后的关丹，会变成什么样的城市，相信关丹市民都很有兴趣吧？
根据人口统计数字，关丹2010年的人口为44万3796人，2015年为51万7200人，以平均人口增长2.4%计算，到了2020年，关丹人口预计为59万人，2025年人口将突破66万5000人，2030年为74万4198人，到了2035年之际，关丹人口预计达到83万6567人。
建“关丹德伦敦塔”（Menara Teruntum，现称：Kuantan 188）
根据替代版的“2035年关丹县地方规划草图”，我们看到了“关丹国际机场”、“东海岸铁路”，还有“关丹港口城市”这3项主要能够带来经济起飞的巨型发展计划，另外也看到了由东海岸经济特区负责兴建的“关丹德伦敦塔”。
其中，德伦敦塔位于关丹河畔公园，关丹国际机场则坐落在空军基地附近，至于关丹现有的港口则将扩建成为一个现代化的港口城市。
此外，政府也计划重新发展政府大厦一带的“黄金地段”，一旦位于KotaSAS新州立法议会大厦竣工后，现有的州政府大厦将改建成为新的商业中心。
沿河一带发展休闲旅游
“2035年关丹县地方规划草图”中，我们看到政府善用关丹位于河岸及海岸的地理位置，在关丹沿河一带发展各种休闲及旅游设施，包括河畔脚车道、河畔咖啡厅，还有游船河等设施。
此外，政府也把直落尖不辣至遮拉丁一带规划成为旅游及商业区，好让当地发展成旅游区，兴建酒店、民宿、餐馆、纪念品店等。
古老建筑物后巷改为行人道
关丹大街和后街的古老建筑物后巷，政府也计划改为行人道，以吸引游客的到访。
当然，2035年关丹县地方规划草图是关丹发展大方向构造图，至于是否真正能够落实，取决于政府财政状况、私人界资金的投入，还有发展的进度及调整。
6大主要走廊．5大次要走廊
在“关丹2035年发展大蓝图”中，负责提呈大蓝图的大马规划局列出关丹未来发展的挑战，希望引起民众及参与关丹未来发展的单位关注。
关丹未来发展的挑战，其中包括了欠规划及绿化的房地产发展、矿业及伐木业的发展、旧建筑物的保护、新建筑物欠缺独特性、旅游拨款不足、河水水质下降、工业区规划不足，还有对关丹人影响最深的排水系统及水灾问题。
延續閱讀：做客 特色小鎮
Jan 12, 2024
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馬來西亞針織廠商會
簡介
立足於享有「馬來西亞紡織城」之稱的峇株巴轄，馬來西亞針織廠商會是我國主要的紡織及服裝廠商會。
本會會員遍布全國各州，涵蓋紡織服裝業的所有領域，包括紡紗、織布、染整、後處理、成衣、刺繡、絲印以及相關的供應商。此外，海外的公司也可以成為本會的附屬會員。
本會在馬來西亞紡織與服裝業的發展裡程中扮演著舉足輕重的角色。我們與政府部門、相關機構、商業團體保持緊密聯系，一起處理問題、提供政策咨詢以及協助推廣計劃。
在歷任會長、理事及會員的齊心協力牽引下，本會在國內外都建立了深厚的的網絡與人脈，以期帶來貿易商機及提升行業的競爭力。此外，本會也建立了我國最具豐富紡織資訊的網站，也是獨家出版每周快訊和會訊的紡織商會，讓會員在第一時間掌握全球紡織動態。
馬來西亞針織廠商會成立於1975年，四十九年以來，雖然歷經許多的艱難與挑戰，我們還是乘風破浪，步伐愈加穩健，建立了穩固的根基。面向未來，我們促請同業團結一致，你們強大的支持力，是我們前進的動力。讓我們心手相連，繼續勇往前行，創造更燦爛的明天。
使命
MKMA 有四個主要使命
提供工業全球競爭力
提升紡織品的品質
開發及開創市場機會於會員
解決工業所面臨的問題
活動與服務
通過電郵及通告傳送新聞，消息及資訊。
出版會訊讓會員掌握本地及國際的各種資訊。
協助會員參與國外紡織展來擴展生意網絡及提升市場價值。
主辦商業考察團到國外參觀貿易展，紡織廠和其它貿易商會。
開辦培訓課程，講座會及工作營來提升會員在管理及生產技術的能力。
與提供紡織教育的高中，工藝學院及大學繁密合作以推廣紡織教育，並栽培紡織專才。
登載電子會員目錄成為重要資訊來源。
與政府機構舉行關於紡織貿易的會議及對話以向政府進言，解決會員一般所面對的問題。（Source: https://mkma.org/cn）
延續閱讀：
Royal Pahang Silk Weaving Centre
愛墾纺織文創
Jan 30, 2024
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遼寧省鞍山市千山區
遼寧省岫岩滿族自治縣
吉林省樺甸市
吉林省輝南縣
黑龍江省齊齊哈爾市鐵鋒區
黑龍江省同江市
上海市崇明區
江蘇省溧陽市
江蘇省鹽城市鹽都區
江蘇省儀征市
浙江省德清縣
浙江省開化縣
浙江省縉雲縣
安徽省潛山市
安徽省績溪縣
福建省安溪縣
福建省漳州市長泰區
江西省崇義縣
江西省廬山市
山東省臨朐縣
山東省新泰市
河南省洛陽市孟津區
河南省濟源市
湖北省武漢市新洲區
湖北省南漳縣
湖南省懷化市鶴城區
湖南省新化縣
廣東省仁化縣
廣東省開平市
廣西壯族自治區靈川縣
廣西壯族自治區三江侗族自治縣
海南省保亭黎族苗族自治縣
重慶市酉陽土家族苗族自治縣
重慶市巫山縣
四川省綿竹市
四川省江油市
四川省樂山市市中區
貴州省修文縣
貴州省銅仁市萬山區
雲南省騰沖市
雲南省元陽縣
西藏自治區林芝市巴宜區
陝西省藍田縣
陝西省留壩縣
甘肅省肅南裕固族自治縣
甘肅省舟曲縣
青海省互助土族自治縣
寧夏回族自治區青銅峽市
新疆維吾爾自治區烏魯木齊縣
新疆維吾爾自治區新源縣
新疆生產建設兵團第十三師紅星一場
除了安溪，近日，全國區域（城市）產業名片打造計劃首批試點公布，
泉州德化入選。
據了解，2022年6月以來，在工業和信息化部的支持和指導下，工業和信息化部工業文化發展中心（以下簡稱「工業文化發展中心」）著力實施「新時代中國工業形象塑造與傳播工程——之區域（城市）產業名片打造計劃」，旨在協同地方打造一批影響力大、美譽度高的區域（城市）產業名片。
區域（城市）產業名片打造計劃自實施以來，得到了全國200多個地方或產業園區的積極響應。工業文化發展中心基於區域產業的標志性和名片打造的先行性，經過綜合評估和充分協商，確定杭州市、成都市、寧波市、保定市、濱州市、郴州市、東莞市（7市），廣州市黃埔區（1區），泉州市德化縣（1縣）作為首批試點區域（城市），率先開展中國產業名片打造創新實踐。（2023-02-03 搜狐）
Jan 30, 2024
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恭喜安溪、德化！國家級榮譽！
根據《農業農村部辦公廳關於開展2022年全國休閒農業重點縣申報和監測工作的通知》（農辦產〔2022〕6號）要求，農業農村部公布了60個擬列為2022年全國休閒農業重點縣的名單，其中
泉州安溪榜上有名！
│安溪整合與茶文化相關的休閒農業景點，推出茶文化休閒景點線路。（來源：泉州農情）
近年來，圍繞「福建安溪鐵觀音茶文化系統」，安溪整合了與茶文化相關的休閒農業景點，推出了「鐵觀音發源地西坪→蘆田雲嶺茶莊園→中國茶都→大寶峰茶廠」的「海絲茶源·烏龍聖地」安溪茶文化休閒景點線路。
2022年全國休閒農業重點縣公示名單
北京市門頭溝區
北京市密雲區
天津市武清區
河北省沙河市
河北省衡水市冀州區
山西省盂縣
山西省高平市
內蒙古自治區克什克騰旗
內蒙古自治區莫力達瓦達斡爾族自治旗
Jan 30, 2024
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INSTITUT KEMAHIRAN TENUN PAHANG DIRAJA TENGKU AMPUAN BESAR MERIAM @ KOMPLEKS BUDAYA KG. PULAU KELADI PEKAN PAHANG
Institut Kemahiran Tenun Pahang DiRaja Tengku Ampuan Besar Meriam (IKTPD) bertempat di Kompleks Budaya Kg. Pulau Keladi, Pekan berhampiran dengan Rumah Kelahiran Tun Abdul Razak yang merupakan Perdana Menteri Malaysia Ke-2.
IKTPD adalah sebuah Institut yang menawarkan pengajian berteraskan pendidikan vokasional.
Konsep pendidikan di IKTPD memberi penekanan tujuh puluh (70) peratus dalam aspek kemahiran dan tiga puluh (30) peratus dalam bidang akademik.
Bagi meninggkatkan tahap kemahiran, para pelatih diberi peluang mengikuti latihan industri di perusahaan kraf yang berjaya.
IKTPD menawarkan program pengajian Sijil Seni Kraf Tenunan ( Tenun Pahang DiRaja ) secara sepenuh masa.
Perbadanan Kemajuan Kraftangan Malaysia memainkan peranan utama dalam memajukan industri kraf di negara ini. Matlamat penubuhan IKTPD ialah untuk melahirkan tenaga mahir bagi keperluan industri kraf negara agar warisan kesenian dan budaya tempatan terus kekal dan berkembang maju.
Visi
Menjadi pusat kecemerlangan pendidikan kraf yang dapat melahirkan tenaga mahir, usahawan kraf dan menjadi pusat rujukan, penyelidikan serta pemuliharaan warisan negara.
Misi
Menjana sumber manusia yang berkemahiran, berilmu, menguasai pengeluaran, peka pada warisan tradisi dan berketerampilan dalam bidang kraf melalui proses pengajaran dan pembelajaran, penyelidikan dan pembangunan bagi memajukan industri kraf tenun.
（Tel:09-422 1612；Emel : iktpd2010@gmail.com； www.kraftangan.gov.my）
延續閱讀：
文化特區專綫
愛墾纺織文創
馬來西亞針織廠商會
Jan 31, 2024
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A Dispersed Creative Network
The Sakon Hed festival illustrates how a dispersed network of creatives can come together and build creative capital through active collaborations and connections. This network is unique, in that it is still very much grounded by a commitment to the place and its tradition, and shows that the creative life of a place doesn’t necessarily need to be permanently situated to bring about a rich creative milieu. While there is an increasing number of creatives – particularly fashion designers – returning to open new indigo-related businesses in the city, there are also many more returning creatives who use the Sakon Hed festival as an opportunity to draw inspiration and bring new ideas back into the creative life of Sakon Nakhon.
Importance of Family Bonds and Networks
The festival is an example of a collaborative creative endeavour sustained by Sakon Nakhon’s creative diaspora.
Family bonds and family-like networks have been key to the revival of indigo-dyed products, and continue to sustain the creative ecosystem of Sakon Nakhon. Generational businesses such as Mae Teeta or Kram Thong and Mann Craft highlight the importance of not just drawing on
The Sakon Hed network is very much established and reliant on blood ties and family-like bonds. For example, Teeta Janpengpen (of Mae Teeta) is the grandmother of Gypsy Janpengpen, a key member of the network. Gypsy Coffee Drip is located next to the Mae Teeta shop in Dong Mafai village. Other members of Sakon Hed may not be related to each other but have nonetheless developed family-like bonds through years of childhood friendship. External visitors such as Chamroen Studio from Bangkok are connected through Mr Gypsy, who consider him as a ‘brother’. These family-like bonds explain the ability of the network to attract many external organisations to participate, calling on goodwill that only family-like relationships can rely on.
Diversifying a Creative Ecosystem
traditional craft knowledge, but also joint family resources to support the development of new ideas.
The indigo dyeing and weaving industry have been the dominant driver of Sakon Nakhon’s creative ecosystem. Prolonged investment and support from various government initiatives has undoubtedly helped revive it and contributed to its success.
However, we have seen evidence of other creative activities emerging in the past few years that have diversified and strengthened Sakon Nakhon’s creative ecosystem. New creative businesses ranging from indigo-related products to sustainable agriculture and farm produce have illustrated how a creative district can continue to grow and evolve even without significant government support. Sakon Nakhon’s example shows how a creative district can build and extend on existing resources to achieve a more diversified and self-sustaining creative ecosystem
(Source: Creative and Cultural Districts in Thailand; May 2020; britishcouncil.or.th)
Feb 8, 2024
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These contributions have been perceived as top-down and less flexible than local, self-organised efforts to nurture the creative community. A study by Chanorn identified OTOP as successful in stimulating local entrepreneurship, but also reported how local artisans felt it introduced divisiveness and promoted business models that were antagonistic to the cooperative nature of many community groups.
Educational institutions provide considerable links to resources and opportunities outside Sakon Nakhon. Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus and Sakon Nakhon Rajabhat University have supported many projects that connect to public and private sectors, such as the example provided earlier where NSTDA commissioned Rajabhat University to develop the local dyeing and weaving industry.
Other examples include talks provided by experts during the Sakon Hed festival, such as Assistant Professor Tips Srisakunchaiyaruk (ผู้ศ์.ธิป์ ศ์รีสกุลไชียรัก) from Arsom Silp Institute of the Arts, on community development, and Ms Sirikun Lolpaikun (ดร.ศ์ิริกุล เลากัยกุล) from Brand Being, who shared her vision on branding community products. Sakon Hed talks were supported by the British Council Thailand, which also provided funding for online media production during the festival
Key Characteristics of Sakon Nakhon as a Creative District
Nature as a Driver of Creative Endeavours
Sakon Nakhon’s creativity draws upon the abundance of natural resources, attested by the indigo-dyeing and textile handweaving industry. Villages spread out in the Isan region cultivate this traditional craft. Many have made significant efforts to preserve the ancient craft, such as Mae Teeta, which rescued the seeds of two different varieties of indigo and grows them both to ensure their continuation. The revival of this craft in the 1990s, driven by renewed interest in organic and sustainable products worldwide, has also expanded the creative community to engage with agriculture and farming practices. The festival and network have given a platform for these industries in Sakon Nakhon to contribute to the creative and cultural richness of the area. This has expanded the scope of the cultural assets of the province to the forefront of contemporary life.
Sustaining and Developing the Dyeing and Weaving Craft Indigo-dyed products have recently started to make their way into Sakon Nakhon city centre, where shops are catering directly to collectors and consumers. Support from local universities with technical know-how has been crucial in introducing innovation to this labour intensive craft.
Opportunities to sell indigo-dyed textile products on a national and international scale is also emerging, sustained by efforts to establish quality standards and develop new modes of production, aided by branding, manufacturing and marketing support by various government initiatives. Newer indigo brands may communicate the indigo craft as a traditional practice as part of their message, but some, such as Mann Craft, focus on (re) discovering ways to extract pigments from different plants, creating new textile patterns produced artistically by weaving communities.
However, natural dyes and textile weaving are labour intensive, which justifies the high price of the more elaborate items. As the market becomes increasingly competitive, the sector must find ways to preserve its authenticity without impacting on product prices and, therefore, labour retribution.
Feb 11, 2024
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Close relationships and collaborations are key drivers of creative activity in Sakon Nakhon and are evident within the various communities in the province. Stemming from strong, intimate bonds, the indigo craft bridges different age groups and social identities. Skills are passed on between family members, and specific weaving patterns and dye recipes are developed within villages, which have an intimate relationship with the surrounding land, rivers, wetlands and mountains.
Age-old bonds are seen in contemporary indigo brands such as Mae Teeta, Kram Thong and Mann Craft, discussed earlier. These family businesses have transformed indigo textiles from everyday, traditional products, bridging an emerging class of creatives looking to develop business in their hometown to reach a global market.
The Sakon Hed network offers the strongest example of family-like bonds that build bridging links. Sharing the same passion for returning home to reconnect, the founding members described their team as brothers, sisters and friends. The festival is an opportunity to expand the network and ‘make more friends’, turning strong bonds into bridging opportunities with other creative communities outside the province (see p. 111).
Collaboration is based on respecting differences in taste and expertise, while carefully mediating and reaching consensus. Since Sakon Hed organisers do not conduct business together, there are no conflicts of interest or competition between them. Instead the focus is on creating a welcoming environment for the growing number of visitors.
The network has not relied on government funds or external influential partners to enable its growth. The success of the network and festival lies in this focus on collaborations and friendships, rather than just economic revenue. The organisers described the latter as a ‘social lubricant’, but not the main goal of Sakon Hed. What started as a family-like gathering has now become the largest independent festival in the province, where dispersed creative communities that live and work in bigger cities such as Chiang Mai or Bangkok come to meet, eat, drink and enjoy sustainable and creative activities.
The power of the Sakon Hed network to connect with a diversity of creative groups is remarkable. The festival draws talents to Sakon Nakhon temporarily to reconnect with fellow creatives, while also inviting friends from other provinces such as Surin (จังหวัดสุรินท่ร์) and Phrae (จังหวัดแพัร่) to share and potentially collaborate. This maintains bridging relationships among mobile groups of creatives from different provinces and regions. Siaw Sakon, also known as the Friends of Sakon, is an extended network of friends involved in the organisation of the Sakon Hed festival. They travel from other regions in Thailand to join the festival as exhibitors and organisers. For example, Phrae Craft (แพัร่คราฟ้ท่์), a creative network from Phrae province in the north of Thailand, are also members of Sial Sakon and exhibit traditional craft products at the event. This is an exchange, as the Sakon Hed network also joined Phrae Craft’s creative festival from 6 to 8 December 2019.
Many other groups, such as Folkcharm from Loei Province (จังหวัดเลย), and Charm-Learn Studio (ชีามเริญิ สต้ดิโอ) and Ruenrom Organic Living from Surin Province, participate at these events to share organic products, new soil-dyed cotton, ceramics and award- winning bento designs.
Feb 13, 2024
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Networks
As a geographically dispersed creative district, networks and community groups play an important role in Sakon Nakhon. The Sakon Hed network consists of locally born creative producers and innovators that come together once a year. The 18 founding members grew up locally but moved away to other cities. They reconnected four years ago with the idea of creating a platform for local creatives and craftspeople to come together, and this resulted in the Sakon Hed festival, held annually since 2016. In recent years, the Sakon Hed network has increased awareness of arts, craft and creative enterprises to showcase their work. Their independent status, without affiliation with the government or corporations, allows them autonomy and freedom in curating the festival.
The Young Entrepreneur Chamber of Commerce (YEC) is a nationwide network with a local office in
Sakon Nakhon that supports businesses participating in the Sakon Hed festival. YEC is a network of second generation business people who run mostly small businesses in the area. One notable initiative by YEC is an annual fundraising run in December to build and develop children’s centres in Sakon Nakhon.
The annual Sakon Hed festival in 2019 at Farm Hug Annual Festivals Festivals have become important temporary hubs to draw dispersed creatives and artisans to Sakon Nakhon to meet, share and network. Many people featured in this case study are young, returning talents, having studied or worked outside Sakon Nakhon city. The main Sakon Hed festival brings together a unique mix of indigo-dyeing and sustainable farming products across the province.
‘Sakon Hed’ (สกลเฮ็ด) means ‘Sakon Nakhon made’ in the Isan language. The festival has been held every year in December since 2016, to champion community-made, locally sourced products and services. The event offers workshops, talks and networking opportunities for artisans and visitors, attracting exhibitors and tourists from all around the province and the country. The festival is grassroots and volunteer-led, without significant funding support from one entity. Contributions come in different forms, from in-kind support by musicians to sourcing bamboo needed for stall structures. The festival has grown in popularity, attesting to the dedication of the organisers, and moved to a larger location for 2019. It coincides with Christmas to take advantage of the festive seasonal holiday, when many people are travelling back home.
Throughout the year, other cultural and religious festivities take place. Communities from around Sakon Nakhon Province construct large models of Buddhist temples out of beeswax. These impressive constructions are loaded onto trailers and driven through the city during the annual Wax Castle parade that concludes the Wax Castle Festival (เท่ศ์กาลแห่เท่ียนพัรรษ์า), taking place every year in October at the end of Buddhist lent. The Wax Castle parade is the biggest event of the year and it is supported by the local government, temples and other organisations.
Building Social Capital in Sakon Nakhon
Sakon Nakhon’s social capital owes much to the family-like bonds between groups and friends, underpinned by a strong sense of community.
While geographically dispersed, the creative and cultural ecosystem of Sakon Nakhon is held together by shared values of respect for traditional wisdom, nature and sustainable development.
Key actors such as the Sakon Hed network, creative indigo producers and sustainable farmers were identified with characteristics such as being dedicated, generous, collaborative, innovative, experimental, heartfelt, flexible, a good listener, team worker, open minded, kind, good advisor, good at problem solving, hardworking and able to say sorry.
Strong Bonds for Bridging
Feb 14, 2024
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Cha Ya Ta is an experimental studio that combines eco-printmaking with local hand dyeing and weaving. Cha Ya Ta Incha (คุณชีญิตว์ อินท่ร์ชีา) is an art educator at the School of Education, Roi Et Rajabhat University, and an expert in eco-printing. Her gelatin-printing techniques, which are sustainable and ecological, are taught through regular workshops at her studio.
Phukarm (ภ้คราม) is known for working with communities in the Phu Phan mountains to create hand-made textiles and embroidered floral patterns. Ms Pilan Thaisuang (คุณป์ิลันธน์ ไท่ยสรวง) is a returning resident who worked as a community historian in Bangkok. Since 2016, she has trained and worked with ageing local women weavers to enable their traditional designs to become contemporary products for different markets.
Institutional Collaborations and Policy Instruments
Thai central government has supported the indigo-dyeing sector through various entrepreneurial-based development strategies since 2001, during Prime Minister Thaksin Shinawatra’s first period in office. The Ministry of Industry established ‘entrepreneur development units’ to activate business, while the project One Tambon One Product (OTOP) aimed to stimulate entrepreneurial development in rural areas. In 2004, the Sakon Nakhon provincial governor designated indigo-dyed textiles as the official symbol of the province.
The SUPPORT Arts and Crafts International Centre of Thailand (SACICT) was established by royal decree in 2003 to ‘promote and support the integration of vocations leading to the creation of folk arts and crafts’.18 It has introduced quality standards and supports local craftspeople and entrepreneurs with training, branding, marketing, internationalisation, intellectual property and blending technological development with traditional practices. These measures were put in place at a time when the market for indigo products was saturated and many entrepreneurs were pushed out of business by competition.19
As a 18 result indigo entrepreneurs began developing distinct brands that communicated authenticity and the careful design of their products.20 In 2008, Kenan Institute Asia (K.I.Asia) introduced community capability development programmes to resource indigo textile production in Sakon Nakhon, supported by BEDO. Since 2011, the development of small and medium-sized enterprises in the textile industry – grouped under the name of Cloth Industry Cluster of Sakon Nakhon (CIC-Sakon, โครงการพััฒินากลุ ่มสิ ่งท่อผู้ายอม ครามจังหวัดสกลนคร) – has been supported by the Department of Industrial Promotion. The project is hosted by Kasetsart University. Since 2012, BEDO and K.I.Asia have collaborated with CIC- Sakon enterprises, implementing the Developing Indigo-Dyed Textile Industry Corporation Project within the indigo-dyed textile industry cluster, covering the full supply chain from indigo and cotton farming to marketing.21 In 2017, with the support of Sakon Nakhon’s Chamber of Commerce, the local campuses of Rajabhat and Rajamangala universities, Silpakorn University and the Association of South East Asian Nations (ASEAN) Handicraft Promotion and Development Association (AHPADA), Sakon Nakhon successfully applied to be nominated as a Craft City by the World Craft Council.
Support Arts and Crafts International Centre of Thailand. (2016). Annual report 2015-2016.
19 Chanorn, C. (2019). Dialectics of cultural production: Branding indigo-dyed textiles in Sakon Nakhon, Thailand. Textile 17(3), 312–326
20 Ibid.
21 Ibid.
Feb 15, 2024
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Social and Sustainable Creative Endeavours
(pg 55) Alongside the indigo craft communities, there are new groups of returning creative entrepreneurs that are heavily influenced by sustainable living, and are actively contributing to the creative and cultural buzz of Sakon Nakhon. Many of these businesses are reconnecting with their strong cultural roots and illustrate the increasing diversity of Sakon Nakhon’s creative life.
URANFARM (อุฬารฟ้าร์ม) produces organic cacao, orchids, salad and palm oil. It is owned by Mr Narongdech Urankun (ณรงค์เดชี อุฬารกุล), a local politician and farmer who is considered a pioneer of modern organic farming, introducing new crops and utilising different marketing and sales strategies by exporting to other regions. Mr Narongdech is a key member of the Sakon Hed
Case Study Sakon Nakhon
buffalo grazing – Ms Saisunee Chiyahongsa (คุณสุนี ไชียหงษ์า) and Mr Sakai Chiyahongsa (คุณสะไก ไชียหงษ์า), leaders of the Baan Na Chuk Organic network, which hosts the annual Sakon Hed festival. Gypsy Coffee Drip and Gypsy Camp are owned by Mr Gypsy Janpengpen (ยิป์ซี จันท่ร์เพั็งเพั็ญิ), another key member of the Sakon Hed network. Recognising an opportunity to service tourists interested in indigo products, he opened his cafe in 2014 next to the Mae Teeta shop. It is akin to a creative hub where local art and craft practitioners meet, including the Sakon Hed network. Like many others featured in this case study, Mr Gypsy returned after working as a researcher at Kasetsart University in Bangkok and witnessing the devastating 2011 floods.17 Na Come Home (นาคำาหอม) is a brand of organic food including rice, fruit, vegetables and herbs.
It is owned by Ms Ratikorn Tongsiri (รติกร ตงศ์ิริ), another returnee who left behind a job in Bangkok’s media industry in 2011. Concerned with environmental issues and aiming to promote healthy living, she became an organic rice and vegetable farmer. Ms Ratikorn expanded her farm and opened an organic cafe, Come Home Sakon, at the end of 2011. The cafe sells desserts, drinks and locally sourced goods as well as showcasing local indigo products. Come Home Sakon is popular with locals, visitors and a network of young entrepreneurs that gather here. Profits from Na Come Home and the cafe are donated to local childcare centres and schools, reflecting other initiatives that are giving back to the community. Kor Fai (ก็ฝั่้าย) produces natural cotton products and promotes community tourism in Baan Na Chok. Community tourism enables local residents to share resources with visitors for the sustainable benefit of both the community and the natural environment. As a plateau and drought area of Sakon Nakhon Province, Baan Na Chok is used for Dyeing Group, have used locally available resources such as buffalo manure creatively, to experiment with organic dyeing processes. They have developed both agricultural and community tourism, creating a successful complementary experience alongside their Kor Fai cotton products.
Hoop Thame (ฮ้ป์แตม) specialises in Isan graphic design, prints, craft and book-making. Mr umnart Sunaprom (คุณอำานาจ สุนาพัรม), a graphic design lecturer at Sakon Nakhon Rajabhat University, experiments with natural materials such as indigo dyeing on banana leaves, and offers hand-dyed textiles and hand-bound book-making workshops.
Feb 15, 2024
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Mae Teeta (แม่ฑีตา) was the first indigo-dyed product brand in Sakon Nakhon, set up in 1992 by Ms Praphaiphan Deangchai. The brand paved the way for the resurgence of indigo craft in the province. ‘Mae’ is a respectful term meaning ‘mother’, named after the founder’s mother, Ms Teeta Janpengpen (ฑีตา จันท่ร์เพั็งเพั็ญิ). Mae Teeta is a family-run business involving the founder, her sister, her daughter and her nephew in the
production of indigo-dyed textiles and clothes.
Ms Teeta and her daughter were pioneers in reviving indigo farming in Sakon Nakhon, by introducing indigo seeds harvested from the surrounding forests into cultivation. A family-like relationship extends to the producers who plant and spin cotton with traditional spinners. Clients are also included in this extended family. Mae Teeta has a loyal base of returning customers that trust the brand and recommend its products to
others. The younger generations of Mae Teeta’s family are fashion graduates who are developing clothing lines for younger customers and introducing the brand to an international market.
Contemporary Indigo-Related Products and Shops
A new generation of makers and producers are evolving indigo craft through a combination of experimental techniques, new marketing strategies and the creation of contemporary designs, as demonstrated by Mae Teeta’s example. Branding has become a key practice in the transformation of indigo-dyed textiles from objects
of everyday, personal use to commodities available for local, national and international trade.15 KramSakon is an umbrella brand for all the indigo merchandise produced by the indigo-dyed textile industry cluster.
It is made up of 20 community enterprises and four SMEs. Members of KramSakon were among the first to establish the Phra Kram street market to sell their products through a dedicated store. One of the stores, Kram
Hug, was started by a long established clothing producer, taking advantage of renewed interest in indigo products. It creates contemporary clothes, household items and accessories designed to appeal to a younger audience. Dominating a busy crossroads with large windows and outdoor plants, Kram Thong (ครามท่อง) and Mann Craft are owned by the same family and share premises. The stores are a key stopping point for important visitors such as the Thai fashion designer Princess Sirivannavari.
The store displays traditional looms, books and signs explaining the process of indigo production.
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Soft Infrastructures
Indigo Communities and Traditions The recipes for indigo dye and the patterns and motifs created through weaving can vary from one community to the other. Weaving communities grow indigo plants using traditional methods11 and make use of locally grown and spun cotton and silk yarns. A system of shared facilities keeps costs down, promotes collaboration and the circulation of resources and knowledge between communities. The weaving process is equally demanding and heavily reliant on the labour of women.
Girls are socialised from a very young age, starting with cotton spinning and picking. Women learn to work together, where the younger and less experienced weavers can observe the proficient ones, learn their patterns and practise under supervision, with knowledge passed on from older women to younger girls.12 This practice means the indigo-dyeing and weaving industry is managed 90 per cent by women. For example, in the Ban Cherng Doi cotton community enterprise group (วิสาหกิจชีุมชีนท่อผู้าฝั่้ายยอมครามธรรมชีาติบานเชีิงดอย), men are in charge of growing indigo and making dye, while women weave cotton into traditional patterns and invent new ones. Men may also deal with matters outside the home, or even occupy positions of power in the public sector that enable them to support the dyeing and weaving industry through policy decisions.13
Pioneers of Indigo Production and Community Enterprise Groups
To an untrained eye, indigo products may all look the same, but the expertise is embodied in the production process, the history of the practice, different techniques and additives used, and the quality of the woven materials. Some long established groups are distinct in the way they make, manage and develop their products. Nakhon Tumtao Agricultural Housewives Group (บานนครถำ าเต่า) was established in 2008 as a community-managed production network consisting of 372 indigo weavers from different villages, each member taking care of a specific part of the production process. The group is led by Ms Somkid Promchak (คุณสมคิด พัรมจักร) (known as Mae Soom: แม่สุ ่ม), who left to be educated elsewhere and returned in 1998. The group has collaborated with Kasetsart University and other agencies to research natural dyes and has developed its own recipe using lotus plants as an additive to the indigo dye.14
Ban Kamkha Indigo Weavers Group (บานคำาข่า) has been running since 1994 as a community enterprise producing hand-printed cotton. Ms Pira Prasertkantong (คุณพัิระ ป์ระเสริฐกานตง) is the local craft expert and instructor in a government- initiated project for local craft promotion (SUPPORT Arts and Crafts International Centre of Thailand – SACICT) and continues to innovate by introducing new patterns. The group’s goal is to grow its own cotton and create special recipe dyes incorporating mud and husks. Taking a different route to market, the Ban Oondong Nong Chaiyawal Indigo Community Enterprise (กลุ ่มวิสา- หกิจชีุมชีนท่อผู้ายอมครามบานอ้นดง-หนองไชียวาลย์) distributes its unique weaved patterns from indigo-dyed, hand-spun cotton threads through an online channel. Led by indigo expert Ms SuneePromkomol (คุณสุนีย์ พัรอมโกมล), it is supported by the Biodiversity-Based Economy Development Office (BEDO) under the Ministry of Natural Resources and Environment to develop sustainable natural products.
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Weaving and Dyeing Industries
Many indigenous groups live in Sakon Nakhon Province. These communities have an enduring tradition of weaving and dyeing cloth, and each group has devised specific techniques, patterns and styles that are regarded as a form of indigenous art and taught through the generations.5 Mud mee (มัดหมี �), or ikat, is a technique of resist-dyeing to pattern textiles, such as tying or stitching. Weaving is traditionally considered a duty for Phu Tai women in the community.6 In the past, textiles were woven for household products, such as clothes and bedding, as well as for important events and ceremonies such as weddings or Buddhist festivities. Dyeing
and weaving industries rely on proximity to natural resources, so they are distributed throughout Sakon Nakhon Province. The map (pp. 98-99, fig. 1) shows traditional communities and pioneer revivalist groups located outside of Sakon Nakhon city.
More recently, shops selling indigo textiles and products have started opening closer to the city centre. Every afternoon on weekends and public holidays, Rop Mueang Road (ถนนรอบเมือง) in front of Wat Phra That Choeng Chum is transformed into Thanon Pha Kram market (ถนนผู้าคราม), taking advantage of a new commercial space that opened in 2016. Vendors sell raw indigo materials and end products such as clothes or accessories, so all generations of indigo enthusiasts can sell, buy and network. The market was an initiative of Kasetsart University, with support from local government, the Department of Creative Industry Development and the Department of Industry Promotion. Named as a ‘northeastern style flea market’, indigo-dyeing
workshops are also held here. Others have opened permanent shops next to the market, such as
Thainiyom Kramsuay (ไท่ยนิยมครามสวย), which occupies a 70-year- old, two-storey wooden house.
Educational Institutions
Two universities in the city – Kasetsart University (มหาวิท่ยาลัยเกษ์ตรศ์าสตร์) and Sakon Nakhon Rajabhat University (มหาวิท่ยาลัยราชีภัฎ สกลนคร) – have been instrumental in reviving indigo-dyeing practices, bridging indigenous wisdom with modern science and technology.7 Local schools provide indigo workshops for students, while the Indigo Centre at the Research and Development Institute of Sakon Nakhon Rajabhat University was set up to support people from the surrounding communities in developing their craft practices.
Sakon Nakhon Rajabhat University was commissioned by the National Science and Technology Development Agency (NSTDA) - (สำานัก งานพััฒินาวิท่ยาศ์าสตร์และเท่คโนโลยีแห่งชีาติ), owing to government policy introduced in 2000, to assist a community initiative in indigo craft revival.
Researchers worked closely with villagers to understand and catalogue the traditional practices – traditions surrounding the craft include the belief that dye vats are inhabited by spirits that can favour the dyeing process8 – and chemical processes of dyeing. What was once small scale and labour intensive with varying quality has transformed to meet an increasing demand for indigo textiles on the national and international market.9 This new knowledge supported some of the indigo revival pioneers, such as the development of a database
system of Sakon Nakhon’s indigenous fabric stripes and patterns, which in turn contributed to the expansion of local craft knowledge.10
Transportation Hubs
Sakon Nakhon has a domestic airport with a daily bus service to Bangkok. A planned upgrade by Airports of Thailand (AOT) to create an international airport hub in the coming years will undoubtedly improve connectivity to the district. There are also two bus stations servicing routes to nearby cities such as
Udon Thani and Nakhon Phanom. (pg. 103)
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Indigo plants are widely grown in the area surrounding the Songkhram River, the very name of the river meaning ‘indigo forest’. The locals have found many uses for indigo over the centuries, calling it the ‘king of dyes’. It is most famous as a natural pigment yielding a distinctive, deep blue colour. However, other uses are common, such as a repellent for rice pests and a culture starter for edible mushrooms.
3 Department of National Parks, Wildlife and Plant Conservation (2015). National parks in Thailand.
4Tjahja, C. (2020). Reorienting and sustaining design and social innovation: Insights from Asia-Pacific practices [Unpublished doctoral dissertation]. Northumbria University.
Public Spaces
Public spaces are often a rare commodity in Thailand,4 and can act as important hubs to enable civic, cultural and creative activities to happen. Lotus Park and the surrounding two parks located next to Nong Han Lake are considered the heart of Sakon Nakhon culture, supporting the recreational and cultural life of the residents.
Nong Han Chaloem Phrakiat Lotus Park (อุท่ยานบัวเฉลิมพัระเกียรติ) was created in 2009 by Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus as part of a research project looking into the benefits of the royal lotus plant. Opened to the public in 2010, the park now features more than 100 varieties of lotuses and water flowers from around the world, with indoor and outdoor exhibition areas.
Suan Somdet Phrasinakarin and Suan Somdet Galyani Vadhana Parks (สวนสมเด็จพัระศ์รีนครินท่ร์และ
สวนสมเด็จเจาฟ้้ากัลยาณิวัฒินา กรมหลวงสงขลานครินท่ร์ หรือ สวนแม่สวนล้ก) are located next to Nong Han
Lake. Often described as the ‘lungs of the city’, they are the only large pedestrianised areas in Sakon Nakhon, kept cool by the large lake and the tall trees at the edge of the parks. They are prominent meeting points, hubs for recreational activities and places to gather for many public events.
Religous Structures
Given the fact that there are more than 400 Buddhist temples, only the most significant have been noted here. Built around the first century, Wat Phra That Choeng Chum (วัดพัระธาตุเชีิงชีุม) is one of the most important city temples of Sakon Nakhon. It was known as Phra That Nong Han (พัระธาตุหนองหาร) during the time of the Lan Xang Kingdom. Wat Phra That Choeng Chum represents Lan Xang influences in Sakon Nakhon culture and traditions. Located next to Nong Han Lake, it is a popular destination among locals and tourists, who
often visit to pay respect. Taking advantage of its popularity, local entrepreneurs have set up stalls selling indigo products around the entrance of the temple grounds. In front of Wat Phra That Choeng Chum is a walking street, hosting a creative weekend market called Thanon Pha Kram (ถนนผู้าคราม).
The Archangel Michael Cathedral, located in the subdistrict of Tha Rae (ท่่าแร่), serves the largest Catholic community in Thailand. Its original structure was built by a community of Vietnamese descendants who settled in this province more than 130 years ago after fleeing persecution. The cathedral serves as a reminder of the rich cultural influences of the province. (pg 101)
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Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.The communities’ close relationship with rich, fertile land and natural resources, and the valuing of local wisdom and indigenous knowledge, extend to sustainable agricultural practices in rice and beef. Small, family-run organic farms, such as Farm Hug, have increased in number in recent years, where traditional crafts and organic food production are brought together. This confluence of craft, culture and food makes Sakon Nakhon a unique creative district in Thailand.
Typology of Sakon Nakhon’s Creative and Cultural District Hard Infrastructures
Sakon Nakhon is characterised by the relative remoteness of the region, its natural resources and its close proximity with other national borders and cultures. Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks. North of Sakon Nakhon are the provinces of Bueng Kan (บ่งกาฬ) and Nong Khai (หนองคาย), while Udon Thani (อุดรธานี), the prominent city of the Isan region and Isan Buddhism, is to the west. The south of Sakon Nakhon is connected to the provinces of Kalasin (กาฬสินธุ ์) and Mukdahan (มุกดาหาร), and the nearest province is Nakhon Phanom (นครพันม), which is only 93km away. The region is close to the Laos border, where Vientiane is only 236km over the Thai-Lao Friendship Bridge (สะพัานมิตรภาพัไท่ยลาว). Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks.
Natural Resources
The abundance of water sources is an important natural infrastructure for the province because other surrounding provinces in northeast Thailand (such as Udon Thani) are dry regions. Sakon Nakhon Province is dominated by large bodies of water and mountains. Nong Han Lake (ท่ะเลสาบหนองหาร) is Thailand’s largest freshwater lake and the surrounding wetlands are important
conservation areas. Nong Han Lake is fed by the Nam Pung River (ลำานำ าพัุง) originating from the Phu Phan mountain region (เท่ือกเขาภ้พัาน), and draining through the Huai Nam Kan River (หวยนำ ากำ า) into the Mekong River (แม่นำ าโขง). Other sources of water come from the Himalayas, where the Mekong River springs and flows through China, Myanmar, Laos, Thailand, Cambodia and Vietnam before flowing into the South China Sea. During its course, the Mekong River feeds the Songkhram River (แม่นำ าสงคราม) flowing through the northeast of Thailand, causing it to flood an area of more than 100 square kilometres every rainy season. This phenomenon sustains an aquatic and terrestrial ecology of countless wetlands; their biodiversity has high cultural and economic value in sustaining the communities for centuries.
Phu Phan National Park (อุท่ยานแห่งชีาติภ้พัาน) is one of the important natural resources in Sakon Nakhon. Located in the Phu Phan mountains, a range of hills dividing the Isan region into two basins, the park was established in 1972 to protect the flora and fauna of the area,3 including the prized Siamese rosewood (ตนพัะย้ง). The indigofera tinctoria, known as the indigo plant or kram (คราม) in Thai, originates from the Phu Phan mountains. (pg 100)
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Famous Buddhist forest monasteries include Wat Pa Sutthawas (วัดป์่าสุท่ธาวาส), the temple of Buddhist master Mon (หลวงป์้ ่มั น), and Wat Pa Udomsompone (วัดป์่าอุดมสมพัร), where the relic of Fun (หลวงป์้ ่ฝั่ั น) is kept. There are well-known annual Buddhist events supported by local government, such as the Wax Castle Festival (ป์ระเพัณีป์ราสาท่ผู้่ ง) and the Boat Race (ป์ระเพัณีแข่งเรือ) at the end of Buddhist Lent Day (วันออกพัรรษ์า). All of these events involve local artisans – for example, to create the beeswax castles and decorations on boats, and perform traditional dance and parades.
The current population of Sakon Nakhon Province is around 1.1 million, and there are approximately 113,000 residents in the city centre. People here speak Isan, which is a Thai-Lao mixed language used around northeast Thailand. There are six different tribes in Sakon Nakhon – Saiyor (ไท่รญิอ), Taiyoy (ไท่โยย), Taiso (ไท่โส), Taikaleang (ไท่กะเลิง), Tai-Loa Isan (ไท่ลาวอีสาน) and Phutai (ภ้ไท่), the last one being the largest and oldest tribe in the area. These tribes have their own dialects of Isan language and have been engaged in traditional weaving practices of both silk and cotton for generations. These traditions have very much shaped the creative and cultural fabric of the region.
1Chanorn, C. (2016). Self-transformation strategies of development: The emergence of indigo dyed textile entrepreneurs in Sakon Nakhon, Thailand. Thammasat Review, 19(2), 1–21.
Sakon Nakhon is famous for indigo dyeing and textile weaving. Due to the abundance of the indigo plant along the Songkhram River (แม่นำ าสงคราม), which flows through the province, villagers have developed local wisdom and know-how to produce indigo-dyed textiles in a variety of patterns and styles. Indigo-dyed textile production declined in the Isan region during the mid-19th century due to
synthetic dyes and industrialisation.1 Farmers switched from growing indigo to more economically viable plantations such as rice, rubber, tapioca, cotton or sugar cane. Villagers, including women, started migrating to cities, reducing the number of agricultural labourers and weavers while swelling the ranks of factory workers. Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.2
Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.
Indigo-dyeing products on display at Mann Craft However, since the 1990s the indigo industry has experienced a revival. During and after the economic crisis of 1997, various initiatives were introduced by the government to stimulate job creation in the rural sector and incentivise workers to return to their hometowns. In this period, the idea of ‘local wisdom’ emerged as a central concept for the revitalisation of many artisan sectors, including agriculture, food, traditional medicine and crafts. Many of the pioneers of the indigo craft revival discussed in the case study started operating in this decade, initiating a new era of indigo production that brings together tradition and innovation. Owing to this revival, the processes of planting, harvesting, fermenting, dyeing and weaving have been passed on over the centuries, and indigo has become the key cultural identity of Sakon Nakhon. Indigo products embody traditional craft knowledge and practices, enabling relationships between different groups to be sustained – local community weavers and designers educated outside of the province, producers with a wealth of traditional knowledge and new consumers.
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This age-old craft, developed in close relationship with the land, was transmitted through the generations until modern production technologies of industrialisation overshadowed traditional practices. Thanks to a small number of pioneers, however, the craft was revived during the 1990s and has evolved since into a vibrant creative scene combining local wisdom with modern design influences. The renewed interest in traditional techniques, indigenous knowledge and environmental sustainability has instilled new energy into other sectors, such as agricultural production and sustainable farming.
In the past ten years, Sakon Nakhon has been developed on the basis of its agricultural resources. There has been a continuous increase in creative activities and businesses developed by citizens who moved back after working in other cities and regions. Since 2016, there has been rapid growth in creative networking and businesses around Sakon Nakhon and surrounding areas. Sakon Hed started out as a network of creative entrepreneurs involved in developing locally branded products that are modern, natural and sustainable. The network hosts the annual Sakon Hed festival (เท่ศ์กาลสกลเฮ็ด),
which has now become the biggest creative event in Sakon Nakhon. The festival aims to promote local wisdom, products, services and brands as well as raise awareness of the growing creative activities in this region.
The uniqueness of Sakon Nakhon’s creative scene is in the somewhat disperse nature of its members.
Traditional weaving communities are distributed across the province, while a growing base of returning talent gathers every year at the Sakon Hed festival, driven by an interest in crafts as well as a commitment to Sakon Nakhon and its traditions. Close relationships such as familial bonds and friendships are the drivers of fruitful collaborations: families and community groups can rely on shared resources to sustain their businesses, while a network of friends and volunteers can mobilise enough resources to create a yearly gathering during which ideas are exchanged and collaborations are arranged. As Sakon Nakhon gains prominence as a creative district in Thailand, the focus is on balancing environmental, economic and social sustainability.
Sakon Nakhon is famous for indigo dyeing and textile weaving. Sakon Nakhon is one of the largest provinces in northeast Thailand, at 9,600 square kilometres. Its history can be traced back more than 2,000 years through fossil and archaeological records. During the tenth century, Sakon Nakhon was called Muang Nonghan Luang (เมืองหนองหารหลวง) and was a major city of the Khmer Empire, until a long drought led to its depopulation. It then became part of the Lan Xang Kingdom อาณาจักรลานชีาง) from the 14th century and had a close relationship with the city of Vientiane in Laos. During the time, Sakon Nakhon was known as Chiang Mai Nonghan ( เชีียงใหม่หนองหาร) and was influenced by Lao cultures and traditions. During the Rattanakosin period, King Rama I (who ruled from 1782 to 1809) renamed the city Sakon Tawapi (สกลท่วาป์ี), which later changed to Sakon Nakhon (สกลนคร), meaning the City of Sakon.
[pg94] Sakon Nakhon is known as a cultural and religious city. There are more than 400 Buddhist temples.Many of them are Dhammayuttika Nikaya (นิกายธรรมยุต) or Buddhist forest monasteries (วัดป์่า), which focus only on scriptural study of the earliest existing Buddhist texts and meditation practices.
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The CEA‘s mission to model Charoen Krung as its flagship creative district, to learn from and develop other cities around Thailand, provides strong motivation. The CEA is playing a key role in linking public and private sectors such as the district offices, Thailand Tourism Authority, local businesses and communities, so the district can headline major festivals such as Bangkok Design Week to engage with a broader national and international creative network. This is undoubtedly succeeding in boosting creative activities in the district, in turn attracting a diversity of talents, start-ups, business ventures and tourism – and generating further cultural, social and economic capital.
Building on Deep and Diverse Cultural Roots
Charoen Krung has one of the oldest communities, having multigenerational settlements for more than 200 years. Family-like bonds within communities are further anchored by established educational, religious and cultural institutions, housed within heritage buildings that have etched various architectural and ethnic influences over the decades. These places maintain the community fabric by continuing to be spaces for gathering, learning, sharing and celebrating traditions, identity and knowledge that enable creative practices such as Islamic art, calligraphy and dragon dance to be passed on. These cultural assets are inspiring a new generation of creatives to set up events and businesses in restored heritage buildings, allowing them to enjoy the markets, participate in festivals, attend exhibitions or socialise in cafes, bars and restaurants. Peppered along narrow streets, these cultural pockets are a rare find in contrast to the congested and densely developed urban environment.
Sustaining Trade Centres
Charoen Krung Road continues its 19th century heritage as a centre of international trading. The
area is adjacent to major business centres served by vital arteries such as the Chao Phraya River,
Silom Road and Sathorn Road, where time honoured establishments can be found – such as
the Siam Commercial Bank, the Bangkok Bank, the Jewelery Trade Centre and new business districts containing law firms, insurance companies, banks, fine dining restaurants, luxury hotels, spas andhealthcare centres. While some businesses may have moved their headquarters elsewhere due to lack of space and parking issues, many still see importance in maintaining a presence in the area.
With excellent transportation links and proximity to many different types of businesses alongside its
growing creative credentials, Charoen Krung is an attractive place for start-ups and design studios to
operate from.
Executive Summary
Sakon Nakhon
Located in Isan (อีสาน), Thailand’s largest region, and surrounded by lakes, rivers, wetlands,
mountains and extensive farmland, the province of Sakon Nakhon (สกลนคร) is famous for its
indigo-dyeing and textile-weaving production. Its capital city, also called Sakon Nakhon, was
awarded the title of Craft City from the World Craft Council in 2017, and is gaining international
recognition for its naturally dyed textiles.（pg.88）
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Linking Between Organisations
The CEA is arguably the main driver of creative activities, with a mission to boost the creative
economy and activities in Charoen Krung. It plays a vertical, linking role in channelling resources and
people to encourage collaborations and investments from within and outside the district.
This can be observed in the successful renovation of Warehouse 30, noted as a key creative hub earlier, and hosting Bangkok Design Week by working closely with a number of local businesses in the area as well as external organisations to set up events and activities. The CEA does well in bringing groups of artists and design students, freelancers, studios and start-ups from outside Charoen Krung to showcase their work in noted creative spaces such as O.P. Place, River City Bangkok and House No. 1. The CEA’s multi-sector links, including private businesses, universities and public sectors such as Thailand Tourism and district offices, make it an important and powerful agent. Such observations allow this study to affirm that policy and central government initiatives through the CEA are largely responsible for Charoen Krung’s development as a creative district, in contrast to other districts studied – where development is attributed to local, existing and emerging cultural and creative assets.
Yet as discussed in the previous section, the CEA may need to play a stronger bridging role to connect horizontally between local businesses and communities by capitalising on their effectiveness in organising events. While businesses are more likely to connect vertically with public sectors such as the CEA, Thailand Tourism and district offices, they will need more assistance to connect with local communities and build on opportunities to work together to avoid potential divisions and inequality in access, wealth and knowledge – as seen in fragmented communities globally.8 The Co-create Charoenkrung project, initiated by the TCDC, was a welcome example of bridging constructively.
The TCDC organised various listening and co-design sessions with the community to learn what residents wanted to improve in their neighbourhood. This resulted in prototypes and models of some of the ideas that the residents came up with, such as providing signage to allow easier navigation through the neighbourhood, creating green pocket spaces, connecting alleys, rejuvenating and repurposing old buildings and redeveloping the riverfront.9
Key Characteristics of Charoen Krung ’s Creative District
Examining Charoen Krung through multiple dynamic layers and assets allows this study to arrive at the following assessment of the role of this particular creative and cultural district. A Govenment-Designed Creative District Investment, resourcing and strategic planning by the Thai government are central to Charoen Krung’s public recognition as a creative district.
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Bonding in Communities
Bonding relationships are strongly evident in various older communities in Charoen Krung. Like a family, these bonds and relationships are important in maintaining a sense of trust and belonging. Participants from both the Haroon Mosque and the Talad Noi communities shared how they cherish community knowledge, culture and history.
Most members of the Haroon Mosque
community are blood-related with extensive kinship ties. The leader of the Haroon Mosque
community is considered a father, a senior brother and an uncle to those in the community. He is also a key connector to organisations such as the Bang Rak District Office and universities. His son
teaches Arabic calligraphy at the Haroon Mosque as a way to pass on the knowledge and techniques of Islamic art. Similarly, Talad Noi is a close-knit Chinese community with a 200-year history in the area. The majority who live here have Hokkien roots and their bonding relationships also reflect their lineage.
The leaders of the Talad Noi community collaborate with public sectors and organise creative events such as the Awakening Bangkok festival of light, as discussed earlier. Bonding relationships can be a double-edged sword if they are insular and inward-facing, relying entirely on family networks. This has been identified as a barrier in developing new relationships with others, preventing new information and resources to be exchanged.6
Similarly, this study has observed how the bridging relationships between the leaders of the two communities is tenuous, even though there may be informal and serendipitous mingling amongst the rest of the community through markets and festivals. Respective leaders of each community had never met each other until a workshop was conducted by the researchers, revealing how little they knew about one another.
They reasoned that they had no formal ways to connect or collaborate. Their communities are
located in different districts – the Haroon Mosque community is in the Bang Rak district while the
Talad Noi community is in the Samphanthawong district. It appears that such district divisions have
not been conducive to working together, even when they are involved in organising festivals. Such
siloed structures of bureaucracy are well-known barriers for collaboration and creative innovation.7
This lack of bridging relationships may further explain a lack of connection between the old
Muslim, Chinese and local communities and the new creative groups who are starting to establish
themselves in the area. The workshops revealed how local businesses and communities were not
connected well horizontally, indicating a need and opportunity for local government and the CEA to
broker such links more effectively in the future.
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Festivals, Event and Markets
There are many activities all year round in Charoen Krung that bring local residents and visitors
together. Markets, events and festivals are a chance to see the diversity of cultures, experience
a range of foods and learn about crafts, beliefs and lifestyles. These activities can be grouped into
cultural and creative events.
Cultural events include community walking tours, the Vegetarian Festival (เท่ศ์กาลกินเจ), the Ancestor Worship Festival (เท่ศ์กาลสารท่จีน), the Lantern Festival and Chinese New Year (เท่ศ์กาลหยวนเซียว), which have mostly been organised and led by local communities. These events are important opportunities that draw the community together, strengthen relationships between different generations and pass on traditions from the older to the younger. For example, the Chow Sue Kong shrine regularly has many events and festivals, beautifully decorated during such occasions to perform rituals and dragon dance. Regular fresh markets also serve different communities.
Prominent creative events include Bangkok Design Week, TEDxCharoenkrung, art and design
exhibitions and the Awakening Bangkok festival of light. These are notable for making Talad Noi
an attractive area for visitors, and in turn, what was just a residential Chinese neighbourhood has now become a prominent cultural tourist spot in Bangkok. Most creative events are supported by
governmental organisations such as the CEA and Thailand Tourism. Bangkok Design Week5 is
significant to the development and sustainment of the creative district. It generates a lasting and
memorable impact and also brings market opportunities to the creative businesses. Events such as this are part of a creative economy development plan by the CEA. These public events take place in prominent locations introduced under hard infrastructures, such as the Grand Postal Building (headquarters of the CEA), Warehouse 30 and also in other venues such as the River City Bangkok shopping centre, O.P. Place and O.P. Garden
Enduring and Sustaining Various Cultural Communities
Charoen Krung has one of the oldest communities in Thailand, based on a solid relationship built over more than 150 years. These enduring communities represent the largest groups of people who live together, take care of each other and share similar beliefs and practices. As noted already, cultural and creative events become important mechanisms to transfer local wisdom from
generation to generation. Retaining a strong sense of community is unique in an ever expanding megacity such as Bangkok, which in turn is vital in regenerating rich social capital.
This is expanded upon in the next section.
Building Social Capital in Charoen Krung
As an urban neighbourhood in Bangkok, there is a large and complex ecosystem with many actors
involved. Characteristics that were identified in these actors that enabled the sustainment of this
ecosystem includes acting as a connector and introducer, being collaborative, relatable, genuine,
local, trustful, sustainable and contributing to the organisation of events. The workshop with its
residents identified a complex social network of individuals, communities, businesses, educational
institutions, public and private sectors that form Charoen Krung (p. 86, fig.2). From this, two key
features of social capital stand out in shaping the ecosystem of the creative district.
Feb 29, 2024
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Transportation Infrastructures
Charoen Krung Road is the main artery through the district, connecting Yaowarat and Rattanakosin Island (เกาะรัตนโกสินท่ร์). The Charoen Krung area is walkable, allowing visitors to explore tourist landmarks, cafes and galleries. From the Grand Postal Building where the CEA is located, it is only around a one-kilometre walk to the Saphan Taksin BTS station (สถานีสะพัานตากสิน), situated at a prime location on the riverside, adjacent to Surasak station (สถานีสุรศ์ักดิ), Chong Nonsi station (สถานีชี่องนนท่รี) and Sala Daeng station (สถานีศ์าลาแดง), where the main business areas are located. Saphan Taksin station is Charoen Krung’s main transportation hub and the most crowded skytrain station in Bangkok, with more than 27,000 commuters. It was built in 1999 as the terminal station on the Silom Line, though now that line extends to the Thonburi area (ฝั่ั งธนบุรี) and terminates at Bang Wa station (สถานีบางหวา). The congestion and increased demand have led to plans to expand and reconstruct Saphan Taksin station.
(Street art around Talad Noi neigbourhood)
Charoen Krung has other access points, across Taksin Bridge and Taksin Bridge Pier. Built in 1980, Taksin Bridge, also known as Sathorn Bridge (สะพัานสาธร), crosses the Chao Phraya River
connecting Bangkok and Thonburi, providing the shortest route to reach the busy areas of Sathorn
and Silom Road. Commuters using the Chao Phraya Express Boats (เรือด่วนเจาพัระยา) travel to
Charoen Krung, Sathorn and Silom using Taksin Bridge Pier.
Soft Infrastructures
As one of the oldest neighbourhoods in Bangkok, Charoen Krung has a rich, diverse mix of cultures,
communities and languages, shaped by various waves of migration. Grounded and nourished by
strong and stable community groups, new creative businesses and communities are increasing in
number since Charoen Krung’s designation as a creative district. The area is experiencing the
benefits and challenges of this influx of new people, including tourism, accelerated by the
creative opportunities provided by the area.
The TCDC and CEA
The Thailand Creative and Design Center (TCDC) was founded in 2004 as part of the Office of
Knowledge Management and Development, reporting to the Office of the Prime Minister
(สำานักนายกรัฐมนตรี) and originally located at the Emporium shopping centre in the Phrom Phong
area (ย่านพัรอมพังศ์์) on Sukhumvit Road (ถนนสุขุมวิท่).
The TCDC is a public-facing organisation to raise awareness about the value of design, and support creative activities and businesses. It is active in organising events to connect designers, suppliers and clients, with seminars that encourage creative development and showcase the latest design trends. It acts as a key connector in the creative ecosystem, providing services such as a design library, material library, exhibition spaces, designer network and database. Its relocation to Charoen Krung in 2017 aimed to drive the urban renewal of the area and develop it as Bangkok’s first creative district. In 2018, the TCDC expanded into a larger organisation with the new task of encouraging the creative economy, and was renamed the Creative Economy Agency (CEA).
Mar 9, 2024
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It is the first house number in this district, with a unique blend of Thai-Western neoclassical design,
making it a landmark venue for hire. Contemporary landmarks are also noteworthy – for example, standing tall behind the Grand Postal Building is CAT Tower, where the Communications Authority of Thailand and Silpakorn University (มหาวิท่ยาลัยศ์ิลป์ากร) are located. Many design and digital media students mingle here with other workers that use it as offices. Some unusual places have also become tourist attractions.
Sathorn Unique Tower (สาท่รย้นีคท่าวเวอร์) was planned as a luxury apartment complex but was abandoned in the 1997 financial crisis and became home to itinerant squatters. Urban myths sprung up that it was a haunted building and it has since become an unusual tourist destination.
Tourism is a key driver of Charoen Krung’s creative economy. While the area has historically attracted affluent visitors and foreign travellers, its emergence as a creative district has attracted more cultural tourists to the area.
Its riverside is populated with luxury hotels, such as Mandarin Oriental Bangkok, the first hotel here, with a 150-year history and famous for its hospitality service training in Thailand. Other well-known hotels within the vicinity include Shangri-La Bangkok, Royal Orchid Sheraton Hotel and Lebua. Most riverside hotels have their own private piers in order to shuttle their guests between the east and west bank of the Chao Phraya River.
Religious and Educational Structures The diverse cultures are reflected in various clusters of schools, churches, temples, shrines and mosques that exist side by side, reflecting Charoen Krung’s historical settlement. Religion has always been an important aspect of life here so it’s no surprise that schools are strongly linked to religious organisations. These infrastructures serve people with different beliefs, mainly Christians, Muslims and Chinese. Assumption College and Assumption Convent, both located on Charoen Krung Road, are Catholic schools next to Assumption Cathedral (โบสถ์อัสสัมชีัญิ บางรัก) – a key landmark in the area.
These schools provide education to the Christian communities that live nearby. Other schools include the Bangkok Christian College (โรงเรียนกรุงเท่พั คริสเตียนวิท่ยาลัย), Sajja Pittaya School (โรงเรียนสัจจพัิท่ยา)– which is a Chinese (Cantonese) school built in 1919 – and Buddhist schools such as Satree Wat Mahaprutharam Girls’ School (โรงเรียนสตรี วัดมหาพัฤฒิาราม) and Wat Mahunnopparam School ( โรงเรียนวัดมหาพัฤฒิาราม), which is reported to be the first public school in Thailand.
Talad Noi (ตลาดนอย) in the north has a mix of Chinese, Catholic and Vietnamese buildings. The Holy Rosary Church (โบสถ์กาลหว่าร์ หรือ วัดแม่พัระล้กป์ระคำา) was built for the Portuguese Catholic community, the Vietnamese Temple (วัดญิวนตลาดนอย) there celebrates Mahayana Buddhism, and the Chow Sue Kong shrine (ศ์าลเจาโจซือกง) is one of the oldest Hokkien shrines in Thailand.
Other buildings include Hong Wong Kun (ศ์าลเจาโรงเกือก หรือ ศ์าลฮอนหว่องกุง) for Hakka descendants, the Muang Kae temple (วัดม่วงแค) for local Thai Buddhists, and the Haroon Mosque (มัสยิดฮาร้ณ) for its strong Muslim community.
These religious institutions are also important places to learn traditional arts, such as Arabic
calligraphy, which are taught to children in the community at the Haroon Mosque. Famous for
its Islamic art, it also provides classes to the public.
Apr 6, 2024
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Nearby the pier, O.P. Place on Charoen Krung Road Soi 38 has been a commercial building for more than 100 years, and it won the Association of Siamese Architects’ Best Architectural Conservation Award in 2008.
Currently it has more than 58 stores, mostly selling luxury furniture, art, antiques and homeware,
and is now one of the best places for buying art in the area.3
Next to O.P. Place is O.P. Garden, which was built in the 19th century and is located on Charoen Krung Road Soi 36. In 1936, it was turned into the first polyclinic in Thailand, where Dr Boonsong Lekagul (นายแพัท่ย์บุญิส่ง เลขะกุล) worked as a medical practitioner. 4 O.P. Garden was also the private residence of Dr Boonsong, who later became a pioneer of wildlife conservation in Thailand. In
2009 it was renovated by TCC Capital Land and became a shopping arcade with a focus on art,
design and craft.
River City Bangkok is another art and craft shopping centre in Charoen Krung. It was built in 1985 by the Italian-Thai Development Public Company (กลุ่มบริษ์ัท่อิตาเลียนไท่ย) and the Mandarin Oriental Group (กลุ่มกิจการแมนดารินโอเรียนเต็ล). River City Bangkok was the first commercial mall on the riverside in Thailand and it has more than 120 creative stores and contemporary galleries inside with collections from Asia and around the world.
It is also an art and antique trading centre holding RCB auctions. Since its opening there have been
more than 90,000 antiques sold in the RCB forum, a magnet for collectors and traders from around
the world.
Iconic Landmarks
Many iconic buildings are situated along the river next to well-known tourist attractions. Several of
these are heritage and conservation listed, being more than 100 years old, representing early modern, Western-influenced architecture in Thailand. For example, the Portuguese Embassy was marked out as an important creative landmark due to its cultural significance, architectural heritage and contemporary street art on the front wall. Its presence indicates the long relationship with Portugal, as many Portuguese have settled here since the 1760s.
The colonial-style building, which was designed in 1860 using local materials, welcomes visitors and provides tours. Another landmark is Custom House, built in 1886 in a neoclassical style, which was used as a customs office and hosted royal events in its banquet hall until 1959. It later became Bang Rak fire station (สถานีดับเพัลิงบางรัก) and then remained empty until 2019, when the owner, the Treasury Department of Thailand (กรมธนารักษ์์), began work with the Fine Arts Department of Thailand (กรมศ์ิลป์ากร) to restore the building, which will continue until 2025.
Charoen Krung Road Soi 30 (ซอยเจริญิกรุง 30) or Captain Bush Lane (ตรอกกัป์ตันบุชี) is an important
historical area of this district that housed early Western settlement. The name hails from John
Bush, a British sailor who lived on this lane and worked as the head of the Marine Department of
Thailand at the end of the 19th century. Captain Bush Lane connects to the main Charoen Krung
Road where House No. 1 (บานเลขท่ี 1) is located.
Apr 7, 2024
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Typology of Charoen Krung’s Creative District
As an area continuously developing since the 1700s through successive waves of migration, settlements and royal initiatives, Charoen Krung’s hard and soft infrastructures are layered with various historical, cultural and commercial influences
Hard Infrastructures
Another unmistakable place for gathering is the Grand Postal Building (ไป์รษ์ณีย์กลางบางรัก), which Long established hard infrastructures such as major arteries and buildings have been developed further through increased investment since Charoen Krung’s designation as a creative district in 2015. New BTS and MRT train extensions make it a major transportation hub, while the river that made it conducive to early trade gives this area a unique advantage for businesses to continue to prosper. As with many old districts, the long, narrow streets and small shops have discouraged large-scale urban development, keeping its underlying historical character intact.
Creative Spaces for Gathering There are a growing number and variety of art spaces and galleries around Charoen Krung.
Warehouse 30 is the most prominent. Located amongst abandoned warehouses behind the Portuguese Embassy, Warehouse 30 became a บ landmark when Mr Duangrit Bunnag (ดวงฤท่ธิ นนาค), a famous Thai architect and a key player in this district, renovated the warehouses into an art and design hub and market in 2016. His previous project, the Jam Factory, was very successful in turning another abandoned warehouse in Klongsan into an attractive art space. Warehouse 30 is home to a cafe, co-working space, art spaces, design shops and furniture store P. Tendercool, and it regularly provides public talks, events and exhibitions. It has become a creative hub for designers, artists and craftspeople to showcase and market their work.
Another unmistakable place for gathering is the Grand Postal Building (ไป์รษ์ณีย์กลางบางรัก), which was the British Consulate during the 1850s before that moved to Phloen Chit Road (ถนนเพัลินจิต) in 1940. Thereafter it was renovated and used as the headquarters of Thailand Post, marking the birthplace of Thailands’ postal service.2 In 2017, the TCDC moved its main office here with a mission to develop it as a creative district, making it a hive of creative activities and events. The CEA also plans to use abandoned spaces in Charoen Krung for art and design exhibitions – for example, Marine Police Lodging (บานพัักตำารวจนำา) and the Custom House (โรงภาษ์ีรอยชีักสาม).
Aside from the landmarks mentioned above, there are three other prominent art centres – O.P. Place, O.P. Garden and the River City Bangkok Shopping Centre, near Si Phraya Pier (ท่่าเรือสี พัระยา). The pier, the largest in Charoen Krung, is next to a bus terminal. Si Phraya Pier is also located near luxury hotels as well as connecting to ICONSIAM, the largest shopping centre in Thailand, across the river.
2 Kongma, C. (2019). Central post office in Bang Rak. The Cloud. https://readthecloud.co/grand-postal-office/
3 Bangkok River. (2020). O.P. Place. https://www.bangkokriver.com/th/place/op-place/
Apr 15, 2024
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江南·宋韻文化的認識維度和內涵例解～～2022年9月23日上午，由浙江省社科聯指導、杭州國際城市學研究中心浙江省城市治理研究中心主辦、杭州師范大學協辦的「浙江人文大講堂•未來講堂」第十講在城研中心倉前大樓109報告廳開講。
浙江省社會科學院二級研究員、原副院長陳野作《宋韻文化的認識維度和內涵例解》講座。浙江省社科聯黨組成員、副主席陳先春出席會議並致辭，杭州城研中心黨組成員、副主任杜紅心主持會議。
來自杭州國際城市學研究中心、杭州學相關分支學科、杭州師范大學相關學院師生、余杭區相關街鎮、杭州城西科創大走廊相關企事業單位的100餘人同步參加線上線下會議。
一曲悠揚的古琴彈奏《梅花三弄》帶領大家走進宋韻文化講堂。
陳先春副主席指出，浙江提出實施「宋韻文化傳世工程」以來，省社科聯推出了浙江省文化研究工程-宋韻研究系列成果，受到社會各界的廣泛關注和積極反響；計劃到2035年，出版宋韻文化系列研究叢書百部以上，完成宋代主要文獻整理，形成較為完整的宋韻文化研究成果體系。宋韻文化蘊含著浙江優秀傳統文化的精神內核，除研究之外，要更加注重傳承、傳播、科普工作，浙江人文大講堂·未來講堂就是很好的形式。希望浙江智庫能充分發揮平台優勢，讓南宋文化這張浙江文化金名片更加深入人心、走向世界。
陳野認為，對宋韻文化的認識，要以全領域的視角，跳出文學藝術看宋韻文化；要以全地域的視角，跳出杭州、浙江看宋韻文化；要以鑄牢中華民族共同體意識的視角，跳出兩宋統治地域看宋韻文化；要以同時期不同區域的橫向比較，跳出中國看宋韻文化；要以長時段的縱向比較，跳出兩宋時期看宋韻文化。陳野指出，跳出宋韻看宋韻，是為更全面、更系統、更立體地研究宋韻文化的內涵特征、歷史地位、精神標識；更科學、更准確、更深刻地提煉其中蘊含的跨越時空、超越國度、富有永恆魅力、具有當代價值的文化基因和文化精神。
會中，她通過結合兩宋時期花鳥畫的傳承與流變、兩宋山水畫之變等橫縱向比較，形象生動地例解了宋韻文化內涵。
她還從「基於華夏認同的民族精神」「基於家國情懷的愛國精神」「基於海外交往的開放精神」「基於多元包容的創造精神」「基於探索求真的科學精神」「基於社會關切的人文精神」六個方面，總結了宋韻文化的精神實質。
講座深入淺出，兼具學術性與科普性，讓在場的聽眾進一步開拓了視野，對宋韻文化有了更深的了解與認識。
講座結束後，陳野還就杭州宋韻文化對外交流、國際傳播途徑以及宋韻文化的要素、氣質、精神在朝代變更中的影響作用等問題回答了聽眾的提問。
會前，杭州國際城市學研究中心浙江省城市治理研究中心聘請陳野為智庫客座研究員並頒發證書。
「浙江人文大講堂•未來講堂」為浙江省社科聯與杭州國際城市學研究中心聯合推出的品牌講堂，旨在在杭州城西科創大走廊搭建一個「科技」與「人文」碰撞的舞台，為周邊廣大科技工作者、高校師生及社區居民提供精神大餐、思想盛宴。迄今已累計舉辦9講，邀請了原中共浙江省委常委、杭州市委書記，浙江省人民政府咨詢委員會副主任，杭州城市學研究理事會理事長，浙江省城市治理研究中心主任、首席專家王國平，中央美術學院原院長、中國美術學院原院長潘公凱，北京大學講席教授，北京大學政府管理學院院長俞可平等著名專家學者，圍繞「讓城市因歷史而美麗」「筆墨藝術、美術理論、裝置藝術、建築設計的創意實踐」「傳統謚法的政治學意義」等主題開展演講，獲得了聽眾的一致好評，並產生了廣泛社會影響。
（（原題：「浙江人文大講堂•未來講堂」第十講開講 l 宋韻文化的認識維度和內涵例解——2022-09-29 來源:都市快報; 来源：《都市快报》2022年9月26日；延續閱讀：地方文化營銷 0.9：國内遊；韵文化：鄉韻 ；愛墾慕課·在地篇）
Jun 11, 2024
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古琴流派與城市文化品格~~2019年4月27日上午，由浙江省社科聯、杭州城市學研究理事會、杭州師范大學聯合主辦，杭州國際城市學研究中心（浙江省城市治理研究中心）承辦，杭州未來科技城管委會、杭州師范大學黨委宣傳部、杭州棋琴書畫研究院協辦的「浙江人文大講堂•未來講堂」第五講——「古琴流派與城市文化性格」在杭州城研中心209報告廳舉行。
浙派古琴代表性傳承人徐君躍從浙派古琴的歷史沿革、藝術風格、教學思想與方法以及新浙派古琴的傳承與發展等方面深入解讀了浙派古琴的「前世今生」。他說浙江曾是我國琴樂文化流佈的核心區域，尤其是在南宋時期。明代時期，以徐門琴風為主線生發而成的浙派琴脈，更使得浙地琴樂文化傳統源遠流長。浙派古琴藝術是杭州文化的重要支流，為杭州城市文化發展提供藝術滋養。同樣，浙派古琴藝術是高雅藝術的典型代表，以其清越舒暢、細膩蒼勁、質朴古雅的審美精神塑造著杭州城市的文化品格。浙派古琴代表曲目有《瀟湘水雲》、《流水》、《梅花三弄》等。
梅庵派傳承人劉善教介紹了「梅庵派」古琴的發展歷史、風格特征以及「梅庵派」對現代古琴教育、城市文化的貢獻。東南大學與梅庵派頗有淵源，東大校內著名建築梅庵是梅庵派古琴藝術的發祥地，也是東大藝術學院的教學場地。作為最年輕的古琴流派，「梅庵派」古琴與教育結合，不僅豐富了現代藝術教育，還促進了城市傳統文脈的延續。如今，「梅庵派」與南京這座城市相關聯，成為了南京高雅藝術的一種代表。「梅庵派」代表琴曲有《平沙落雁》、《長門怨》、《關山月》、《秋江夜泊》和《搗衣》等。
本期浙江人文大講堂·未來講堂在形式上不拘一格，既有講解，又含演奏。深入發掘高雅藝術，注重城市文化、城市品格培養，為廣大師生、科技工作者、社區居民以及古琴愛好者帶來了一場精彩的文化講座、一場絕妙的音樂盛宴。
徐君躍、劉善教兩位主講嘉賓在講解之後，撫動琴弦，分別演奏《流水》、《梅花三弄》、《憶故人》、《平沙落雁》、《長門怨》、《山居吟》等曲目，讓在座的聽眾如臨山水、如聞暗梅、如處大漠、如居山林。琴音「繞梁三日不絕於耳」，聽眾意猶未盡。
高雅藝術造就高品質城市
維也納又稱「音樂之都」，是一座用音樂裝飾出來的城市，它的風光景物、行雲流水，孕育了海頓、莫扎特、貝多芬、舒伯特、施特勞斯父子、勃拉姆斯等音樂巨人，給世人留下無數不朽的樂章；它的一草一木、一山一水、一磚一瓦，似乎都跳動著歡樂的音符，回蕩著迷人的旋律……動人的音樂無時無刻不在空中縈繞飄蕩，飄過美泉宮，飄過金色大廳，飄過多瑙河。數百年來，維也納吸引著數以千萬計的游客來這裡尋找世界音樂大師們的歷史足跡和藝術回音，音樂也因此成為了維也納這座城市的人文資源和獨特優勢，產生了不可估量的經濟、社會和文化價值，使維也納巍然屹立於世界城市之林。
杭州——古典與現代音樂融合的「音樂之城」。追溯千年，音樂早已鐫刻在杭州的基因上，流淌在杭州「血液」之中。良渚文化時期，音樂就已出現端倪。杭州音樂歷經魏晉南北朝、隋唐北宋、南宋、元、明、清、民國等時期，不僅種類得到了豐富，而且形式也發生了變化，從最早的「擊鼓、撫琴、吹篪、彈阮」到「雅樂、燕樂、嘌唱、小唱、說話、鼓子詞、諸宮調、傀儡戲、影戲、雜劇、細樂」，再到「地方戲曲劇種——杭劇」等等。總體上，杭州古代音樂突破了宮牆的束縛，實現了宮廷內外各類音樂藝術相互融通，發展了通俗化的戲曲、說唱等藝術門類。
傳承歷史、繼往開來。杭州還在現代交響樂的舞台上創新，打造了杭州愛樂樂團等「金名片」，探索了「院團+劇場」、「院團+電台、電視台」、「院團+華數」等發展模式。
音樂滋養著人們的心田，陶冶著人們的情操，抒發著人們的美好理想，豐富著人們的精神世界。建設「音樂之城」也是建設「高雅藝術」之城，不僅提升了城市品質，還對城市競爭力產生了重要的影響。截止2018年底，杭州全市共有劇場11家，劇團20家。當年度劇團演出觀眾人數505.42萬人次，文化創意產業增加值達3346.83億元。近十年來，杭州市文化創意產業值高速增長，逐漸為杭州國民經濟的重要支柱性產業。
結 語
文化是一座城市的「根」與「魂」，是一座城市的識別符號。無論是維也納還是杭州都印證了高雅藝術對城市文化、城市品質的深刻影響。習近平總書記在主政浙江省期間就曾強調文化的力量，重視文化對城市經濟發展、城市高品質生活的積極作用。他指出「文化的力量，或者我們稱之為構成綜合競爭力的文化軟實力，總是『潤物細無聲』地融入經濟力量、政治力量、社會力量之中，成為經濟發展的『助推器』、政治文明的『導航燈』、社會和諧的『黏合劑』」。在現代高品質城市的建設中，注重城市經濟發展的同時必須重視文化藝術的發展，尤其是高雅藝術的傳承與弘揚。只有如此，才能鑄就高品質的城市生活，保持高度的文化自信，推動文化的繁榮興盛，實現中華民族偉大復興。（古琴流派與城市文化品格——浙江人文大講堂•未來講堂第五講開講；2019-04-28 來源：城市怎麼辦）
Jun 11, 2024
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蘇軾·此心安處是吾鄉
「此心安處是吾鄉」，出自宋代大詞人蘇軾的《定風波·南海歸贈王定國侍人寓娘》：
常羨人間琢玉郎，天應乞與點酥娘。盡道清歌傳皓齒，風起，雪飛炎海變清涼。
萬裡歸來顏愈少，微笑，笑時猶帶嶺梅香。試問嶺南應不好，卻道：此心安處是吾鄉。
詞句注釋
（1）玉郎：是女子對丈夫或情人的愛稱，泛指男子青年。
（2）天應（yīnɡ）：上天的感應、顯應。
（3）皓齒：雪白的牙齒。
（4）炎海：喻酷熱。
（5）嶺：這裡指嶺南，即中國南方的五嶺之南的地區。梅香：梅花的香氣。
（6）試問：試著提出問題，試探性地問。應：應該。
（7）此心安處是吾鄉：這顆心安定的地方，便是我的故鄉。
白話譯文
常常羨慕這世間如玉雕琢般豐神俊朗的男子（指王定國），就連上天也憐惜他，贈予他柔美聰慧的佳人（指寓娘）與之相伴。人人稱道那女子歌聲輕妙，笑容柔美，風起時，那歌聲如雪片飛過炎熱的夏日使世界變得清涼。
你（指寓娘）從遙遠的地方歸來卻看起來更加年輕了，笑容依舊，笑顏裡好像還帶著嶺南梅花的清香；我問你：「嶺南的風土應該不是很好吧」你卻坦然答道：「心安定的地方，便是我的故鄉。」
創作背景
蘇軾（1037年—1101年）的好友王鞏（字定國，1048年—1118年）因為受到蘇軾「烏台詩案」牽連，被貶謫到地處嶺南荒僻之地的賓州（今廣西賓陽縣）。王定國受貶時，其歌妓柔奴毅然隨行到嶺南。公元1083年（元豐六年）王鞏北歸，請出柔奴（別名寓娘）為蘇軾勸酒。蘇軾問及廣南風土，柔奴答以「此心安處，便是吾鄉」。蘇軾聽後，大受感動，作此詞以贊。(百度百科)
Jun 15, 2024
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楊柳·讓青年與城市互相成就～～簡約乾淨、出行便利、免費入住……天津中醫藥大學應屆畢業生田夢前往江蘇求職，一到蘇州姑蘇區平江文創人才街區的青年驛站，就感受到了這座城市的魅力。
為滿足外地高校應屆畢業生在當地求職期間的住宿需求，蘇州將部分酒店、公寓改造為100餘處「青年人才驛站」，學生只需在小程序上申請，即可獲得最多14天免費住宿。幫助學生減輕求職期間的開銷，彰顯城市的發展溫度，有助於塑造更好的城市形象，吸引更多優秀人才。
深圳天安雲谷青年活動陣地「54號」移動艙。[光明網資料圖片]
城市是青年集中、發展活躍的區域。根據第七次全國人口普查數據，中國青年常住人口城鎮化率達71.1%，高於整體常住人口城鎮化率7.2個百分點。一批又一批青年來到城市、揮灑汗水，在實現自身價值的同時，助力城市發展。
青年因城市而聚，城市因青年而興。創新之城深圳，常住人口平均年齡為32.5歲。「來了就是深圳人」，開放包容的理念吸引大批青年來到這裡，共同創造了這座城市的發展奇跡。雙向奔赴、互相成就，也詮釋了城市和青年之間最好的關係。
城市對青年更友好，青年在城市更有為。2022年，17部門聯合印發《關於開展青年發展型城市建設試點的意見》，明確了青年發展型城市的理念內涵，倡導青年優先發展。兩年多以來，各地把青年工作作為戰略性工作來抓，著力優化青年發展環境，更好滿足了青年的多元化、多層次發展需求。
青年處於成長的關鍵階段，面臨一些困難和壓力，需要更多關心關愛。河北邯鄲加強3歲以下嬰幼兒照護服務，讓青年家長「送得放心、托得安心」；山東在全省實施「青年優居計劃」，有針對性地解決青年住房、租房、購房等不同階段的現實需求；貴州貴陽打造「青年卡」綜合服務平台，為全市青年提供線上與線下融合、政府與市場結合的一體化綜合服務……當前，越來越多城市的青年發展政策更加體系化、更具普惠性，為廣大青年創造了更安心、更舒適的奮斗環境。
也要看到，城市發展水平越來越高，各方面條件不斷改善，站在更高起點上的新一代青年，也有新的期望。更好激發青年的奮斗熱情和創新創造活力，要將促進青年工作高質量發展融入城市發展戰略，建立常態化工作機制，用心用情用力幫助青年解決畢業求職、創新創業、社會融入、婚戀交友、老人贍養、子女教育等方面的操心事、煩心事。對城市而言，贏得青年才能贏得未來，塑造青年也就是塑造未來。
青春由磨礪而出彩，人生因奮斗而升華。建設青年發展型城市，並不是給青年建「溫室」，而是要為努力奔跑、勇敢追夢的青年設置「加油站」，讓他們以更好的狀態去破難題、促發展、建功業，在貢獻國家、服務人民的奮斗路上走得更遠。
習近平總書記指出：「青年興則國家興，中國發展要靠廣大青年挺膺擔當。」當代青年，生逢其時，也重任在肩。深入了解青年群體所思所想所求所盼，為他們創造良好的發展環境，搭好施展才華的舞台，定能讓青年與城市的創新創造活力相互激蕩，為高質量發展匯聚起磅礴的青春力量。（2024-06-21 來源:人民日報 作者:楊 柳）
Jun 23, 2024
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最佳移居國家或地區排行榜，越南四連冠大馬跌出十大
（慕尼黑2024年7月9日綜合電）全球最大旅外人士網站InterNations針對53個國家或地區進行的2024年Expat Insider年度調查，旅居海外人士最負擔得起的國家或地區是越南，而且連續4年奪冠，馬來西亞今年十大不入。
全球175個國家與地區，超過1.25萬旅外人士進行評比，而且分為多個子項目，包括旅外人士心中最佳和最糟城市、生活品質指數、個人財務指數和國外工作。
個人財務指數方面，報告邀請受訪者針對整體生活成本、財務狀況滿意度 以及每戶可支配所得是否能過上舒適生活進行評分，排列了旅外人士心中「最負擔得起」的國家排名榜，一共排了53名。
結果顯示越南奪冠，第2至10分別是柬埔寨、印尼、巴拿馬、菲律賓、印度、墨西哥、泰國、巴西和中國。馬來西亞去年排名第5，今年排名11，十大不入。
前10名中有7個亞洲國家，當中東南亞佔了5國，InterNations首席行銷長凱瑟琳楚多巴指出，住房是上述5國的一大優勢，多數旅外人士認同，在這裡容易找到房子，而且相當滿意負擔得起住房費用。
值得留意的是，越南四連冠，並在整體生活成本、財務狀況滿意足、每戶可支配所得三方面均得高分，86%旅外人士滿意越南的生活成本，遠超過全球平均的40%。65%受訪者滿意在越南的財務狀況，68%反映當地每戶可支配所得能讓他們過上舒適生活。
一名美國人說：「這裡的人非常友善，而且生活成本很低。」
除了生活成本較較低，住在越南的旅外人士似乎收入也較高。報告指出，當地旅外人士年收入達15萬美元的人，約是全球兩倍。
越南旅外人士的工作滿意度也很高，楚多巴表示，在工作滿意度方面，越南從去年的24名躍升到今年第3名。
報告說，整體而言，在越南，工作與生活平衡勝過職業發展。值得留意的是，在越南的外籍人士中，只有46%是全職工作者，低於全球平均的57%。當地一名英國人說，在越南生活讓他「沒壓力」，和過往非常消耗、忙碌的工作生活非常不同。
另外，調查也統整出旅外人士認為最適合移居國家或地區的前10名，分別是巴拿馬、墨西哥、印尼、西班牙、泰國、巴西、越南、菲律賓、阿聯酋，亞洲國家表現依然出色，惟去年排名第5的台灣今年掉出十大。（9.7.2024 見：星洲日報）
Jul 11, 2024
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諾伯-舒茲《場所精神》
挪威建築理論家諾伯-舒茲（Christian Norberg-schulz）1979年出版了《場所精神：邁向建築現象學》（Genius Loci: towards a phenomenology of architecture）（施植明中譯，1995），書中闡述了源自古羅馬的人所認為「場所精神」，認為「每一種『獨立的』本體都有自己的靈魂（genius），守護神靈（guaraianspirit）這種靈魂賦予人和場所生命，自生至死伴隨人和場所，同時決定了他們的特性和本質。」而這就是「場所精神」。諾伯-舒茲提醒場所（地點，place），不是物理學向度的空間（space），而是與社會文化連結，進而產生意義與認同的地方。
摘錄
建築從屬於詩意，它的目的在於幫助人定居。
人的存在意味著「在大地之上，蒼穹之下「，首先必須面對的就是自然場所，經由對自然場所的理解，人構築了人為場所。人透過對「物」「秩序」「特質」「陽光」與」時間「而得以理解自然場所；「物」與「秩序」屬於空間組織；「特質」與「陽光」屬於「造型特性」「時間」意味著恆常與變遷的向度——使 「空間組織」與「造型特性」成為「真實生活」的一部分。
運用「形象化」補充「象征化」的手法，使人得以將自然場所的意義轉化成人為場所的特性。因此造型特性——浪漫式、宇宙式、古典式、複合式——具體表達了特殊的場所精神。場所雖然會因其他的因素產生變遷，然而唯有在變遷中仍能掌握其場所精神才不至於造成場所的混亂與迷失。因此建築的目的不在於實踐抽象的理論，而是具體地表達場所精神以滿足人類居住的需求。[引自 譯跋]
遵循著建築的定義為「存在空間的具現」。「具現」更以「集結」（gathering）和「物」（things）的概念來解釋。「物」的原始意義是一種集結，而任何物的意義即其所集結為何。[引自 前言]
認同感和方向感是人類在世存有的主要觀點。因此認同感是歸屬感的基礎，方向感的功能在於使人成為人間過客（homo vitor），自然中的一部分。[引自第21頁]
尊重場所精神並不表示抄襲舊的模式，而是意味著肯定場所的認同性並以新的方式加以詮釋。[引自第182頁]
對沙漠居住者而言，場所精神即是真神的表征。[引自第44頁]
環境與信仰。猶太教和基督教發源於沙漠。
沒有天花時，天空即扮演上方邊界的角色，空間雖然有橫向邊界，還是屬於「外部空間」的一部分。因此空間的光線若來自上方便有一種既是內部和外部的奇怪感受。[引自第59頁]
羅馬建築中「既有的」條件是以量體和空間作為原始的整體。「人在軟的岩石上鑿出空間，而不是建造一個『相對物』，像希臘神殿一樣，面對人……。人寧可鑽進不定形的事物裡，創造力是為自己完成一個存在的空間」…………羅馬人接收古典的柱式用來「人性化」他們的存在空間。[引自第164頁]
（《建築中的意圖》）對知覺和象征性加以透徹的探討，同時強調人不能僅由科學的理解獲得一個立足點。人需要象征性的東西，也就是「表達生活情境」的藝術作品。本書仍主張藝術作品的概念系生活情境的「具現」（concretization)。人的基本需求在於體驗其生活情境是富於意義的，藝術作品的目的則在於「保存」並傳達意義。[引自 前言]
場所精神的形成是利用建築物給場所的特質，並使這些特質和人產生親密的關係。
當人定居下來，一方面它置身於空間中，同時也暴露於某種環境特性中。這兩種相關的精神更可能稱之為「方向感」和「認同感」。想要獲得一個存在的立足點，人必須要有辨別方向的能力，他必須曉得身置何處。而且他同時得在環境中認同自己，也就是說，他必須曉得他和某個場所是怎樣的關係。
山丘和河流是相對而互補的力量，這股力量使得自然變得生氣蓬勃而具表現力。[引自第85頁]
人「吸收」環境，並使建築物或物在其中形成焦點。因此物「詮釋」了自然，並使其特征明顯化，所以物本身變得非常有意義。[引自第17頁]
Aug 1, 2024
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[音樂之美]
現在這段音樂之美，就在於它創造了一個全新的世界。一般的奏鳴曲入曲，是一片百合花般潔白的、充滿田園氣息的晨曦，聖潔羞澀的晨花輕輕綻開，懸掛在鄉間那忍冬和天竺葵錯落交織、結實難解的綠棚上。然而這部作品一開始出現的是拂曉，平靜酣睡的海面沉浸在一片沉悶的寂靜和無限的空曠之中。狂風驟起，先是死寂和黑暗，然後是一片玫瑰色的曙光，進而整整一個世界從中脫穎而出，在我面前漸漸升騰起來。這片紅色是如此新奇，如此罕見於溫柔抒情、聖潔天真的奏鳴曲，一如朝霞，給天穹染上了一片神秘的希望之光。一首優美的樂曲已經劃破天空。樂曲雖然是由七個音符構成，卻是聞所未聞，與我想像中的一切都截然不同，既妙不可言，又尖銳刺耳。這已不再是奏鳴曲中鴿子的低估，而是撕裂長空的高鳴；它跟曲首沉浸中的鮮紅色一樣強烈，如公雞報曉一般神秘，它乃是永恆的晨曦不可言表但又振聾發聵的呼喚。寒冷、雨洗和帶電的空氣——與奏鳴曲相比，這空氣的質極其不同，氣壓迥然相異，它離純潔天真、草木叢生的奏鳴曲相去甚遠——時刻都在改變甚至消抹通紅的、希望的曙光。然而到了正午，頓時出現了熾熱的太陽，空氣似乎化為一種凝重的、村鎮般的的，近乎於鄉野的歡樂。震天而響、瘋狂飛打的大鐘，似乎把最厚實的幸福變成了現實。
[異鄉十分孤獨]
門外的那個穿制服的僕役，衣著華麗，身體修長瘦削。……他木然不動，而且木然不動上面又加了一層悲悲切切的神色，因為他的兄長們都已離開了旅館去尋找更光輝燦爛的前程去了，他自己在這塊異鄉土地上感到十分孤獨。……他對侯爵夫人不抱任何希望，便任憑旅館侍應部領班和侯爵夫人的貼身女僕將這位夫人及其衣物安排停當，而他自己仍然在那里憂傷地夢想著自己那些小兄弟令人豔羨的命運，保持著他那植物般的木然不動。
［刺山楂］
「這是棵刺山楂，但它是桃紅色的，比白色的更美。它也穿了一身節日盛裝，是真正的節日盛裝啊！只有宗教節日才算真正的節日，不像世俗節日隨便由誰胡亂指定在某一天⋯⋯它那身打扮更富麗，因為層層疊疊綴滿枝頭的花朵，使滿樹像洛可可風格的花哨的權杖，沒有一處不裝點得花團錦簇。⋯⋯看到這些山楂花，我除了更加驚喜之外，同看到白色的山楂花一樣，分明地感覺到它的喜氣洋洋中並無絲毫的矯揉造作，沒有人為加工的痕跡，全是大自然自發的流露，那種天真可掬之態，可與村中為在街旁搭一張迎聖祭台而奔忙的女商人，把滿樹堆砌，弄得既豪華又有鄉土氣的顏色過於嬌豔的花朵相比。⋯⋯這株信奉天主的、嬌美可愛的小樹啊！」。
（摘自：《追憶似水年華》[法語：À la recherche du temps perdu，英语：In Search of Lost Time: The Prisoner and the Fugitive]，[法国]馬塞爾·普魯斯特 [Marcel Proust ，1871年—1922年] 的作品，出版時間：1913–1927，共7卷）
Oct 18, 2024
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（續上）“鉴于沙巴政府将采取一切必要措施，以落实并履行沙巴在马来西亚的权利，以及所有承诺与保障，包括根据《联邦宪法》第112C、112D条和附表9所规定的拨款和附加收入权利，并依据《1963年马来西亚协议》第八条，以及当初马来西亚成立时所达成的协议与相关文件，如《联邦宪法》、IGC报告（马来西亚成立前的政府间委员会报告）、Batu Sumpah（宣誓石/誓约石），以及所有相关的文件、备忘录、协议、保障、建议和承诺。”
理想情况下，该动议应获得全体一致通过，但若能取得绝大多数支持也已足够。
建立执行机制
在宣布立场、表达诉求并通过相关决议后：
沙巴政府应成立沙巴州咨询委员会（Sabah State Consultative Council, SCC），以收集和审查各界意见，建立一个诉求资料库。需要重新审视沙巴的权利，包括未纳入“21项核心议题”中的内容，如宗教、教育、州元首（TYT）的职权和称谓、新宪法、地方政府、移民事务等。
委员会应开放讨论，让人民表达观点。它应由政府与反对党成员共同组成，采取跨党派合作，并广泛征求公众、民间社会和利益团体的意见。应充分利用社交媒体，让人民发声、参与。我们已经等待了58年，现在必须采取正确的方式来推进。
SCC委员会应被授权决定相关议题，并将明确的诉求带到与联邦政府的讨论中。
诉求的优先顺序
将诉求分为三到四个层级：
40%税收分成权（《联邦宪法》第112D条款规定）
财政相关议题（如石油收益：现金支付协议（CSA）、石油发展法令（PDA）、领土海域法令（TSA））
去中心化治理议题（如旅游、环境、卫生、教育、地方政府、农业、采矿等。
沙巴身份认同议题（如平等地位、宗教、新宪法、公民身份、州元首（TYT）地位、沙巴身份证等，这些可能需要单独类别）
政府间委员会（IGC）
SCC与联邦政府将召开政府间委员会（Inter-Government Committee, IGC）会议，以重新制定联邦体制的新框架，相当于“IGC 2.0”。沙巴必须获得事实上的（de facto）和法律上的（de jure）权利。未来势必会有政治上的交易，因此需要考虑法律上的替代方案。
真实的不满
沙巴的成立是基于当时的协商和委员会听证，而当时的沙巴领导人在事后看来是过于天真，遭到了欺骗，被许下了遥不可及的承诺。我们的不满是真实存在的。
的确，马来亚有许多理由拒绝给予我们合理的诉求，例如担心其他州如柔佛和吉兰丹也会提出类似要求，或者担心国家财政收入的巨大损失。但我们要求的只是我们的合法权利——既不多，也不少，这些权利在宪法被篡改和规避之前已被明确承诺并记录在案。
如今，沙巴人对马来亚的不满之声越来越强烈，无法被忽视。最终，这种声音将变得如此响亮，以至于马来亚只能通过压制和镇压来回应。但到了那个时候，若马来亚仍不倾听、不采取行动，他们终将自食其果。同样，这一原则也适用于沙巴的政治领袖。（Sabah rights: Story so far and what next by Anuar Ghani，Published on: Sun, Aug 22, 2022，Daily Express，Sabah) 相關：Open letter to heads of Sabah Parties，By:Datuk John Lo）
Jan 30, 2025
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（續上）MA63与沙巴权利
MA63和沙巴权利是一个极为复杂的问题。要真正理解这些问题，必须掌握所有基础性文件，其中包括：
《科博特委员会报告》（The Cobbold Commission Report）
《20点协议》（The 20 Points）
《1962年政府间委员会报告》（The Inter-Government Committee Report 1962）
《1963年马来西亚协议》（The Malaysia Agreement 1963）
《1963年马来西亚法案》（The Malaysia Act 1963）——第35章（英国）
《1963年马来西亚法案》（The Malaysia Act 1963）——第26号法案（马来亚议会）
《联邦宪法》和《沙巴州宪法》
《根地咬誓碑》（Keningau Oath Stone，1964）
此外，还需要了解宪法中具体涉及沙巴权利的条款，这些条款的修订如何削弱了沙巴的权利，《联邦宪法》第九附表中关于联邦权力、州权和并行权力的规定，以及各种法律手段如何规避或削减了沙巴的权利。如果不了解这些文件和法律背景，就很难真正理解整个问题。否则，人们只能选择性地吸收信息，最终对问题的认识仍然是不完整的。
我曾整理了一份被侵蚀或剥夺的沙巴权利清单，仅初步列出了25项潜在的违约行为，而实际上还有更多。那么，我们沙巴人要如何应对这座比京那巴鲁山还要高的违约“高山”？我们的民意代表是否具备足够的知识来处理这些问题？公众是否了解这些问题，是否愿意并能够清晰地表达自己的观点？领导人是否真正倾听人民的声音？这些都是我们必须面对的重要问题。
如何应对这些问题
1.自我教育：深入学习沙巴权利
拿一条湿毛巾，锁上房门，准备好足够的咖啡，然后认真研读这些基础文件。这些文献的阅读难度很大，即使是律师也觉得繁重。此外，还可以阅读一些相关书籍，其中包括：
Zainal Ajmain的《女王的义务》（Queen’s Obligations）和《宏伟蓝图》（The Grand Design）。他定期在公共场合和Zoom线上会议上讲解沙巴权利。
马来亚大学的宪法专家、荣誉教授拿督沙德·萨利姆·法鲁奇（Professor Emeritus Datuk Dr Shad Saleem Faruqi）也曾探讨沙巴权利问题，最近的一次讲座是2021年8月19日的《联邦宪法中沙巴和砂拉越的特殊地位》。
已故丹斯里赫尔曼·卢平（Tan Sri Herman Luping）在沙巴发展研究所（IDS）出版的《1888年至1988年沙巴历史》（The History of Sabah from 1888 to 1988）一书中的相关章节，是一个很好的入门材料。
2 制定教育材料，推广公众认知
沙巴律师公会（Sabah Law Society, SLS）正在编写一本关于沙巴建州历史及MA63权利的手册，预计将在今年年底完成。这本手册将用于学校教育、高等研究以及公众参考。
此外，沙巴行动组织（Sabah Action Body Advocating Rights, SABAR）作为沙巴少数几个正式成立的组织之一，也在积极推动对沙巴及MA63权利的倡导工作。
结论
我们必须采取系统性的方法来处理沙巴权利问题，政府应当明确表态，并建立咨询机制，让人民的声音被听见。同时，我们也需要提升公众的认知，让每一个沙巴人都能理解、讨论并捍卫自己的权益。
在我看来，我们需要明确立场，并采取专注、协商和系统化的方式来推进。
明确立场
首先，沙巴必须发布一项声明或表达自身的不满及诉求。要表明立场，沙巴立法议会（Dewan Undangan Negeri Sabah）必须通过一项动议，内容可如下：
Jan 31, 2025
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第三轮谈判
2020年，国盟政府在执政后，由时任首相丹斯里慕尤丁成立了一个特别委员会，并设立三个联邦与州政府工作委员会，负责讨论并向特别委员会提出建议。这三个委员会分别涵盖：
1 平等地位与宪法权利
2 安全事务
3 社会经济问题
现有的委员会讨论的议题，主要是从已故刘伟强担任部长时期所提出的21个问题中，筛选出的10个议题。此外，《联邦宪法》第1(2)条关于沙巴的平等地位修正案，以及非法移民问题，分别由“平等地位委员会”和“安全事务委员会”进行讨论。
值得注意的是，在这21个议题中，并未提及宗教、语言、教育、地方政府、新宪法、州元首（TYT）头衔、公民权及移民等问题。这些议题或许被认为“过于敏感”，或是已成定局、无可挽回。
那么，问题来了——为何只剩这10个议题？这些议题是如何决定的？为什么限制在21个议题？这些决定是否仅由政客和政府官员制定？是否有咨询公众、民间团体、利益相关者和受影响的人民？人民是否曾被征询意见，或被给予表达看法的机会？还是政府认为无需咨询民众？
如今，政权又更迭，接下来呢？第四轮谈判又将如何展开？
马来西亚成立前的咨询
我们必须记得，在马来西亚成立前，曾进行过两次民意调查，即《科博特委员会报告》（Cobbold Commission，1962）以及《联合国马来西亚特派团报告》（United Nations Malaysia Mission Report，1963）。尽管这些调查受到批评，但它们确实征求了民众的意见。
在1962年的《科博特委员会报告》中，普通民众曾被咨询。尽管最终的结果可能受到操控，以促成马来西亚的成立，但至少进行了相关咨询。
同样，在1963年，《联合国马来西亚特派团报告》（UNMM）不仅会见了在1962年和1963年间通过间接选举产生的所有沙巴领导人（沙巴联盟在当时的市议会和地方议会选举中赢得137个席位中的131个），也会见了落选者、被剥夺投票权的民众、所有选举官员，以及所有被认为与此议题相关的人士，以听取他们的意见。
最终，联合国特派团的结论是：沙巴人民在清楚理解自己投票意愿的情况下，自由地选择支持沙巴联盟提出的“加入马来西亚”方案。
至少在1960年代，当时的政府尊重并履行了向人民和领导人咨询意见的程序。但如今，政府是否仍然如此尊重人民的意愿？
这在关于确立人民对沙巴及《1963年马来西亚协议》（MA63）权利的意愿方面，明显存在严重缺失。沙巴政府应当对MA63权利作出明确立场，聆听并咨询人民的意见，整理这些诉求和不满的清单，建立一个机制和机构，以表达、制定和谈判这些诉求。
MA63与沙巴权利问题的误用与误解
MA63与沙巴权利问题一直被政客滥用、误用，甚至被曲解和误导，无论是在煽动性的政客言论中，还是在不够了解情况的普通民众之中，这种情况都很普遍。
马来西亚成立前的咨询
我们必须记得，在马来西亚成立前，曾进行过两次民意调查，即《科博特委员会报告》（Cobbold Commission，1962）以及《联合国马来西亚特派团报告》（United Nations Malaysia Mission Report，1963）。尽管这些调查受到批评，但它们确实征求了民众的意见。
在1962年的《科博特委员会报告》中，普通民众曾被咨询。尽管最终的结果可能受到操控，以促成马来西亚的成立，但至少进行了相关咨询。
同样，在1963年，《联合国马来西亚特派团报告》（UNMM）不仅会见了在1962年和1963年间通过间接选举产生的所有沙巴领导人（沙巴联盟在当时的市议会和地方议会选举中赢得137个席位中的131个），也会见了落选者、被剥夺投票权的民众、所有选举官员，以及所有被认为与此议题相关的人士，以听取他们的意见。
最终，联合国特派团的结论是：沙巴人民在清楚理解自己投票意愿的情况下，自由地选择支持沙巴联盟提出的“加入马来西亚”方案。
至少在1960年代，当时的政府尊重并履行了向人民和领导人咨询意见的程序。但如今，政府是否仍然如此尊重人民的意愿？
这在关于确立人民对沙巴及《1963年马来西亚协议》（MA63）权利的意愿方面，明显存在严重缺失。沙巴政府应当对MA63权利作出明确立场，聆听并咨询人民的意见，整理这些诉求和不满的清单，建立一个机制和机构，以表达、制定和谈判这些诉求。(下續) （Published on: Sun, Aug 22, 2021 Daily Express Sabah；愛墾網翻譯）
Feb 1, 2025
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Sabah rights:Story so far and what next by Anuar Ghani
三个委员会已成立以讨论《马来西亚协议1963》（MA63）权利
第一轮（Round 1）
2017年，由于沙巴被视为国阵的“固定存款区”，以及沙巴人民权利问题日益成为政治议题，当时的首相拿督斯里纳吉成立了“权力下放至沙巴和砂拉越及《1963年马来西亚协议》（MA63）执行委员会”。 该委员会的成立是由于来自沙巴的时任外交部长拿督阿尼法·阿曼的坚持和推动。
这个内阁级别的委员会由阿尼法和拿督南茜·舒克里领导。在州级层面，沙巴州政府的委员会由拿督张志刚领导。然而，由于国阵在2018年大选中败选，该委员会未能达成任何协议。
第二轮（Round 2）
2018年，希盟政府上台后，由时任首相敦马哈迪领导的委员会成立，该委员会成员还包括沙巴和砂拉越的首席部长等重要官员。
已故的拿督刘伟强在此期间付出了巨大努力，提出了21个议题供讨论。在这21个议题中，17个已达成共识，剩下4个仍未解决。
在已达成共识的17个议题中，有3个已经解决，即：
(i) 木材出口关税与森林税收
(ii) 西巴丹岛（Sipadan）和利吉丹岛（Ligitan）的行政管理权
(iii) 农业和森林管理相关事务
在剩下的14个议题中，有4个涉及沙巴和砂拉越法院权力的下放、司法行政、司法专员的任命，以及涉及《沙巴土地条例》的转让文书（Memorandum of Transfers）、抵押、租赁等土地交易的印花税问题。
此外，还有10个已达成共识但尚未解决的议题，包括：
(i) 沙巴和砂拉越的天然气与电力监管
(ii) 在沙巴和砂拉越执行联邦工程
(iii) 沙巴和砂拉越的劳动力管理（联邦权限）
(iv) 联合清单下的共同义务
(v) 特别拨款的审查
(vi) 近海与远海渔业管理
(vii) 联邦在各州土地的所有权问题
(viii) 《联邦宪法》第112条（关于就业增加）
(ix) 旅游业与环境的法律权责
(x) 沙巴和砂拉越对卫生事务的管辖权
仍未解决的四大问题
(i) 石油税收与石油现金支付
(ii) 石油矿产与油田管理权
(iii) 《2012年领海法案》（Act 750）
(iv) 州政府对大陆架的权利
这四个悬而未决的问题主要围绕石油权益与海洋权利（即“金钱问题”）。相关法律包括《1966年大陆架法案》、《1974年石油发展法案》以及《2012年领海法案》。此外，《联邦宪法》第112D条规定沙巴应享有净收入40%的权利，但至今未得到落实。（下續）
Feb 2, 2025
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陳明發博士:理直氣爽面對AI～～昨晚剛從沙巴一個有關MA63協議的講座回來。前兩位主講人都是資深的律師兼政治領袖，我則從文化經濟的角度切入。因為今年是蛇年，我以《聖經》有關“那條蛇”的敘事開講。
來賓中有好幾位是正為"沙巴復邦"議程訴諸法庭的法界精英，其中一位會後問我：你是基督徒嗎？我其實不是。
我僅僅借《聖經》的一些典故說明一些事情而已。現實裡有許多事，面對這些事，我的情緒是什麼？情感是什麼？
而這些情感與情緒可能形塑我們接下來行動，那些是具有建設性，那些負面不堪？我的方法是從古老典故、啟示、傳說、軼事......，也就是從一般人所說的「故事」中去找尋（複數的）教誨。
今天一早，一位唸心理學出身的信教友人，發訊表達了他對人工智能是否會“終結人類”的憂慮。
我把“終結人類”理解為「末日」。我以非教徒對基督教義膚淺的認識，是這麼理解的：末日=審判=救贖
30年前寫過一篇文字，表達過我這方面的「情動記錄」（情緒+情感+新的能量的思路）。
面對“AI終結人類”這議題，我給自己的“情動答案” 有兩個結果——
一、AI帶來的不是「末日」，意思是我們都還在世上，生活要繼續下去就得怎樣調適？
二，AI帶來「末日」，那正好是讓上帝看見，你是一位義人，為人類福祉挺進宗教情懷到最後一刻；其他宗教的信徒，或有他們不同的「救贖方式」，像我就相信存在主義那一套，努力活得理直氣壯。不，是理直氣爽。（11.2.2025）
Feb 11, 2025
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1850 、1875 (United States&Brunei)
1850: United States Brunei Treaty
1855: Sultan of Brunei’s letter to the US
1865: American Trading Company of Borneo concession
1875: William Cowie Treaty with the Sultan of Sulu
1877 & 1885 (Protocol Madrid)
1877: Brunei’s Grant to Baron von Overbeck
1885: Madrid Protocol, recognition of Spanish rule over the Philippines
1881 1883 (ODA British Enclave)
1881: British William Torrey’s Sabah expedition
1882: British North Borneo Company charter
1883: British North Borneo Company grants land to German traders
1877, 1878, 1885 & 1905 (Brunei vs Sulu's Bayan or Enclave)
1884: Alfred Dent’s letter
1884 1902 (Sultan of Brunei & The Pangarans, British North Borneo Company)
Agreements and correspondence related to the British North Borneo Company and Brunei
1885 (Brunei Document)
1885: Sultan Abdul Mumin Wills
1888, 1905 & 1906 (Protectorate Agreement)
1888: Protectorate Agreement
1905: Protectorate Treaty
1906: Brunei (Protectorate) Document
1906 (Labuan, North Borneo & Straits Settlements)
1906: Transfer of Labuan to the British Crown Colony
1930 (Britain United States)
1930: Treaty between Britain and the United States regarding North Borneo & Turtle Islands
1946, 1950 1958, 1962 & 1963 (The North Borneo Order in Council)
Documents related to North Borneo’s transition under British rule
1963 (Malayan Agreements & Treaties)
1963: Malaysia Agreement, Malaysia Act & Final Proclamation of Malaysia
1930 (Britain United States)
1930: Treaty between Britain and the United States regarding North Borneo & Turtle Islands
1946, 1950 1958, 1962; 1963 (The North Borneo Order in Council)
Documents related to North Borneo’s transition under British rule
1963 (Malayan Agreements Treaties
1963: Malaysia Agreement, Malaysia Act; Final Proclamation of Malaysia
This timeline presents a structured historiographical account of North Borneo (Sabah) and Brunei, covering centuries of treaties, agreements, and engagements with British, Dutch, Spanish, American, and local rulers.
Feb 12, 2025
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APP:NorthBorneo/Sabah·Historiography
Over 300 Years of Old Documents, Treaties, and Engagements, Orders of Her Britannic Majesty in Council, the United States of America and the Netherlands
16th to 17th Century (Between 1500 - 1601)
1599: Letter written by Admiral Oliver van Noort to the Spanish Governor of the Philippines
1601: Captain Sir James Lancaster’s expedition to Borneo and Brunei
18th to 19th Century (Between 1700 - 1801)
1760 1769 (British Sulu Bornean Chief)
1760: English East India Company Document
1761: Alexander Dalrymple Treaty & Ratification with the Sultan of Sulu
1762: British invasion of Manila
1763: Treaty of Paris; Spanish lost Manila to the British
1769: First British settlement in Borneo established by the English East India Company
19th to 20th Century (Between 1800 - 1901)
1843-1878 (British Brunei Sulu)
1843: Sultan Muhammad Kanzul Alam to Britain
1846: British annexation of Labuan
1878: Treaty between the Sultan of Sulu and Baron von Overbeck & Alfred Dent
1878: Grant from the Sultan of Brunei to Baron von Overbeck
1824, 1846, 1871, 1891 & 1915 (British Netherlands)
1824: Treaty between Her Britannic Majesty & the Netherlands
1846: Treaty between Great Britain and the Netherlands concerning Borneo
1871: Treaty between Great Britain and the Netherlands concerning Sumatra
1891: Convention between Great Britain and the Netherlands concerning Borneo
1915: Final agreement between Great Britain and the Netherlands on Borneo boundary
Feb 13, 2025
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（3）土：地方的根基與穩定
例：老城區、祖祠、鄉村田野、古城牆—「土」的地方情動特征：歸屬感、歷史感、溫暖、懷舊；體驗：人在這些地方會感受到穩固的歷史脈絡，如北京四合院、京都的町屋，它們讓人「情感扎根」，強化地方記憶。
（4）金：地方的秩序與像徵
例：行政中心、宗教建築、金融區、法院—「金」的地方情動特征：尊嚴、敬畏、規則、權威；體驗：金行的地方通常帶有「儀式感」，如梵蒂岡聖彼得大教堂、華爾街、紫禁城，它們給人的感覺是正式、理性、秩序感強。
（5）水：地方的流動性與回憶
例：碼頭、移民社區、河流、邊境城市—「水」的地方情動特征：漂泊、記憶、哀愁、流動性；體驗：水行的地方往往帶有變動和歷史疊加的特性，如馬六甲、香港維多利亞港、新奧爾良的法語區，這些地方的「水性」使人感受到變遷、離別、回憶交織的情動。
五行情動如何影響文化創意產業？
當我們將五行與地方情感結合，可以發現地方文創產業可以利用五行的不同特質進行情境設計，使得文創體驗更具吸引力：
| 文創園區 | 木（生長） | 北京798藝術區、台北松山文創園 |
| 節慶活動 | 火（激情） | 潑水節、燈會、狂歡節 |
| 歷史文化旅游 | 土（穩定） | 故宮、老街保存區 |
| 高端品牌、藝術館 | 金（秩序） | 巴黎盧浮宮、紐約現代藝術館 |
| 文化記憶、口述史項目 | 水（流動） | 香港歷史博物館、移民故事計劃 |
這樣，我們可以設計出更具「地方感性」的文創體驗。例如：
「火+木」結合：在充滿活力的新興文化區舉辦創新藝術節。
「水+土」結合：在老城區沿著歷史水道策劃地方歷史敘事體驗。
「金+火」結合：大城市核心區利用科技增強博物館互動體驗使文化更加生動。
五行、地方感性與情動的未來
在文化強國的議程下，中國的地方文化振興不僅是物質上的重建，更是情感與情動的重新激活。五行不僅是一個古老的分類法，更是一個可以幫助我們解讀地方感性、規劃文化產業、設計情感體驗的框架。
如果未來要打造一個情感驅動的文化創意產業，我們可以利用五行框架分析：
1. 這個地方的主要情動特質是什麼？
2. 它與人們的情感記憶如何聯系？
3. 通過文創設計，如何增強情感連接？
「地方感性不僅是一種懷舊，而是創造未來的情動力量。」
五行的智慧，可以成為文化創意產業深耕地方記憶、激活文化能量的獨特方法論。
Feb 19, 2025
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愛墾APP：情動學理框架下的地方感性與五行關係
情動學（Affect Studies） 強調情感（Emotion）與情動（Affect）之間的關係，關注人與環境的感知、體驗和身體化（embodiment）互動。而地方感性（Topophilia, Place Sentiment），如段義孚（Yi-Fu Tuan）所提出的概念，強調人與地方的情感聯系，以及地方如何塑造人的心理認同。
當我們將五行（Wood木, Fire火, Earth土, Metal金, Water水）引入這一框架時，可以發現五行不僅僅是物理、自然或社會的分類系統，也可以被視為地方感性與情動的五大向度，每個元素都影響著地方的情感氛圍，以及人對地方的感知、記憶和依戀方式。
五行與情動：地方感知的五種向度
五行不僅僅是物質世界的像徵，也可以看作是影響地方情感體驗的五種動力機制：
| 五行 | 情動特質 | 地方感性表達 | 情感/感知體驗 |
| 木（生長） | 向上、擴展、希望 | 植被豐富、成長中、文化復興區 | 好奇、探索、希望、自豪 |
| 火（激情） | 活力、溫暖、變革 | 祭典場所、革命遺址、夜市、藝術區 | 激情、歸屬感、狂歡 |
| 土（穩定） | 根基、安全、歷史感 | 鄉村、祖屋、廟宇、祖先祭祀地 | 歸屬感、安定、懷舊 |
| 金（精致） | 秩序、凝練、制度 | 城市中心、政府機構、商業區 | 效率、敬畏、尊嚴 |
| 水（流動） | 適應、變遷、記憶 | 河流、港口、碼頭、移民社區 | 離愁、懷舊、漂泊感 |
地方感性如何「呼喚」五行？
在情動學（Affect Theory）視角下，地方不僅是一個物理空間，而且是一個情感被編碼、再現和感知的場所。五行系統本身可以被看作一種「呼喚性架構」（Evocative Structure），不同地方因其歷史、環境、社會文化氛圍，展現出不同的五行特質，從而喚起人們不同的情感體驗。
（1）木：地方的生長力與希望
例：新興文創園區、城市綠化帶、再生社區 —「木」的地方情動特征：希望、開放、朝氣、探索；體驗：人在這些地方會感到未來的可能性，激發創造力，如北京的798藝術區、上海的田子坊，給人一種「文化生長」的情動。
（2）火：地方的激情與聚集
例：廟會、夜市、音樂節、體育場—「火」的地方情動特征：熱情、集體能量、戲劇性、節奏感；體驗：這些地方往往充滿聲音、光影、互動，形成情感能量的「高峰」（emotional peak），如泰國宋干節（潑水節）、台灣的九天民俗技藝團的演出，營造出強烈的地方感性。
Feb 20, 2025
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愛墾APP:《沙灘男孩》——日劇的圓夢营銷～～《沙灘男孩》（Beach Boys）雖然是一部娛樂性質的電視劇，但其「逃離都市」「回歸自然」「追尋自由生活」的核心主題，確實為日本後來推動的地方創生（地方再生、地方振興）實踐提供了某種文化和心理上的啟示。以下是這種方程式在地方創生中的實際影響和作用：
1. 鄉村生活的理想化與營銷
電視劇效應：Beach Boys通過展示海灘小鎮的美好生活，賦予鄉村地區一種理想化的色彩。這種「自然、簡單、自由」的生活方式成為很多都市人向往的烏托邦。後來，許多地方創生項目通過類似的方式，利用電視劇、電影或廣告來塑造鄉村地區的魅力，吸引城市居民旅游、移居或參與地方活動。
案例：例如，香川縣的小豆島、長野縣輕井澤等地，通過影視作品和文創活動宣傳當地自然風光與慢生活，成功吸引了大量游客，甚至吸引了一些年輕人長期定居。
2. 逃離都市、回歸地方的理念推廣
體制外生活的倡導：Beach Boys的兩位主角從都市生活的束縛中解脫，重新思考人生。這種精神與後來日本地方創生中提倡的「回歸地方」「找到新生活」的理念一致。地方創生計劃鼓勵都市居民，尤其是年輕人，通過移居鄉村、從事農業、手工藝、地方創業等方式，過上更具意義的生活。
案例：政府和地方自治體推出了「地域おこし協力隊」（地方振興協力隊）等政策，鼓勵年輕人到地方工作和生活，以獲得新的事業和人生體驗。
3. 文創與地方振興的結合
文創產品與IP打造：Beach Boys的成功也顯示出影視作品和地方風情結合的強大影響力。許多地方創生實踐借鑑這一方程式，通過影視、文創產品等方式打造地方IP。例如，將地方特產、文化故事與現代設計相結合，打造具有獨特魅力的文創商品和旅游路線。
案例：大分縣的由布院地方，通過藝術、音樂節等文創活動吸引游客，成為日本知名的文創與觀光勝地。
4. 觀光與體驗經濟的推動
體驗式旅游：電視劇的海灘生活場景和小鎮氛圍，啟發了地方創生中「體驗式旅游」的發展。許多地方推出深度游項目，讓游客不僅僅觀光，而是融入地方的生活，體驗農耕、漁業、手工藝等。
案例：瀨戶內海藝術祭通過藝術裝置和地方文化結合，不僅吸引了游客，也促進了地方的可持續發展。
5. 社區共創與地方自豪感的提升
社區角色：Beach Boys中的小旅館經營者和居民展現出一種緊密的社區關係。地方創生中強調的「共創」（collaboration）理念，即通過社區成員的共同參與和合作，推動地方經濟與文化復興，這與劇中呈現的社區協作精神相呼應。
案例：高知縣「馬路村」通過村民共創柚子產品，將小村莊打造成「柚子之鄉」，獲得全國知名度。
6. 移住與創業激勵政策的支持
現實中的實踐：電視劇中的人物逃離城市、在地方重新創業的情節，為後來的地方創生實踐提供了象征意義。許多地方政府推出了創業補助、移居補貼、空房改造等政策，吸引城市居民移居地方，開啟新生活。
案例：長野縣推出了「移住工作計劃」，吸引許多都市白領到地方創業或從事遠程工作。
《沙灘男孩》的方程式，即「逃離都市壓力—擁抱自然與自由—重新尋找生活意義」，在日本地方創生實踐中具有象征性意義。它不僅為地方文創、旅游推廣提供了營銷靈感，更在心理層面上鼓勵了城市人群探索新的生活方式。通過這種方式，日本的地方創生實踐得以在文化與經濟層面雙向推動，實現了部分地區的復興與發展。（延續閱讀）
May 15, 2025
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＊ 巴蒙地埃(Parmentier)，十八世紀時把馬鈴薯移植到法國。
＊ 加拿大，產蘋果。赫斯柏力地(Hesperides)，見希臘神話：七姐妹在赫斯柏力地花園中看守金蘋果，赫古斯(Hercules)靠她們的幫助取得蘋果，終於不朽。諾曼底，里安乃等，皆蘋果名。
＊「網球場的蛇蘋果汁的誓言」一行的原文是：le serpent du jeu de Paume le serment du jus de Pomme。這是作者慣作的諧音文字游戲，其戲謔處譯文無法傳達。「網球場的蛇」(Serment du jeu de Paume)，後者為一歷史事件：一七八九年六月廿九日，法國三級會議中的第三級議員在網球場立誓，「不制訂憲法不散」，以反抗暴君。蛇與蘋果則來自聖經夏娃的故事，作者把它寫成「蘋果的誓言」(le serment du jus de Pomme)。（Jean-Marie Schiff、陳瑞獻合譯)
延續閱讀：散步 詩性散步 散步 散步
May 24, 2025
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雅克·普萊維爾（Jacques Prevert）詩選·畢加索的散步
在一個很圓的真實的瓷盤上
擺著一粒蘋果
跟它面對面的
是一個寫實的畫家
畫又畫不成
那蘋果的樣子
可是
那蘋果不允許這樣
那蘋果
有自己的話要說
在它的蘋果袋中有許多詭計
那蘋果
就在那兒旋轉
在它的真實的盤中
偷偷的在它的自身上
美好的毫不移動
像義士公爵把自己化裝成一個煤氣燈嘴
因為人們不管怎樣都要替他畫像
那蘋果把自己化裝成一粒喬裝的漂亮的果子
在這之後
那寫實畫家
開始發現
那蘋果的一切模樣都跟他對立
而且
像不幸的窮人
像那個可憐的赤貧者忽然發現自己任由任何慈善又可怕的慈善事業和惡習的團體支配
那個不幸的寫實畫家
忽然發現自己
是許多觀念聯想的可悲的犧牲品
而那旋轉的蘋果憶起蘋果樹
地上的天堂和夏娃還有亞當
一個噴壺一列籬牆巴蒙地埃一個樓梯＊
加拿大的赫斯柏力地的諾曼底的里安乃的以及阿比安的蘋果＊
網球場的蛇蘋果汁的誓言＊
以及原罪
以及藝術的起始
以及威廉泰爾的瑞士
甚至依薩牛頓
多次在萬有引力的展覽之中得獎
而那眩惑的畫家再也看不見他的模特兒
睡著了
就在那時候畢加索
在那里經過就像他經過每個地方
天天像在自家里
看見那蘋果以及那盤子以及那睡著的畫家
什麼怪念頭想畫一粒蘋果
畢加索說
而畢加索吃掉那蘋果
蘋果跟他道謝
畢加索打破那盤子
笑著走了
那畫家從他的睡夢中被拔了出來
像一顆牙齒
發現自己單獨在那張未完成的畫布前
在他的碎了的瓷器當中
那些可怕的真實的果核。
May 24, 2025