隨著文化創意產業園（簡稱文創產業園）在西方城市的發展，相關的研究也越來越多。對文化創意產業園概念進行的探討有德瑞克·韋恩提出的文化園區概念，Hilary Anne Frost-Kumpf提出的文化區概念。在德瑞克·韋恩看來，文化園區指的是特定的地理區位，其特色是將一城市的文化與娛樂施以最集中的方式集中在該地理區位內，文化園區是文化生產與消費的結合，是多項使用功能 (工作、休閒、居住)的結合。 Hilary Anne Frost-Kumpf認為文化園區指的是一個在都市中具備完善組織、明確標示、供綜合使用的地區，它提供夜間活動且延長地區的使用時間，讓地區更具有吸引力；提供藝術活動與藝術組織所需的條件，給居民與游客相關的藝術活動；提供當地藝術家更多就業或居住的機會，讓藝術與社區發展更緊密結合。
1. Focus your offer around core venues, e.g. museums, galleries, performing arts venues
2. Embrace partners of all sizes and don’t be afraid to reach out to divergent art forms
3. Be driven by a clear, organic idea that your offer has to measure up against
4. Be as diverse as possible, but communicate as a hub rather than as disparate entities with a shared logo
5. Be a brand, or at least have a brand name and use it to underpin your offer
6. Be altruistic: tell audiences what else they can do in the area, beyond the partners involved in your hub
7. Produce print materials that incorporate a map and practical details
8. Visually communicate a hub that is alive, and write copy with wit and personality
9. Go digital and use social media; consider developing an app
10. Reward loyalty to your hub and all its partners
About Art Insights
Museums and galleries face a challenging landscape. Social, political and economic factors are impacting how they innovate, engage with their visitors and share both knowledge and collections. With challenges come new possibilities. At Art Fund, we want to help inspire the way forward.
We have commissioned research to explore the potential for museums and galleries to harness change, and reach new audiences. Offering key insights and suggesting actions you can take in your own organisation, our reports focus on a number of current sector trends.
We hope these reports provide rigorous, practical advice, and we invite arts professionals to use them in shaping the future of their organisation and the sector as a whole.
About Art Fund
Art Fund is the national charity for art. We help UK museums and galleries to build and share collections, do more for their visitors and support the curators of the future. To keep up to date with our initiatives, funding schemes and news, subscribe to our monthly Museum Bulletin at artfund.org/bullet in artfund.org/supporting-museum
About The Muse Strategy
Based in Soho, London, Muse create marketing, brand and audience strategies. With clients in multiple sectors across the world, Muse have worked with some of the most commercially successful and creatively awarded brands of modern times. Culture sector clients span Art Fund to ZSL London, and include the British Museum, Imperial War Museum London and the V&A.
musestrategy.com
（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）
Word of mouth is by far the most influential means of communicating about a cultural hub.
Brand recognition is critical, so your hub needs a brand idea that clearly positions its offer, for example ‘The Knowledge Quarter’. To be credible, your hub has to genuinely live up to that brand idea. The idea should act as a checker to measure all programme and communications activity against.
Speak with one voice Our research found that simply using consistent branding as badging, while each venue communicates on its own, doesn’t work. Cultural consumers want to find out about an experience in its entirety; just listing the components isn’t enough.
Your hub will have a cohesive proposition; a single thought in which it is rooted. It needs to be communicated clearly and with one voice across all participating venues.
Be authentic
A hub needs to be legitimate, and its offer truthfully communicated. Communicate a sense of space In marketing materials, it’s helpful to give a sense of your hub’s lively atmosphere and to visualise people on site. A bit of wit goes a long way and further humanises the hub and its venues.
When respondents were given some existing materials, they were critical of artists’ representations that make venues look very similar or unrealistically close to each other.
All participating venues must communicate the existence of a hub, for example through flags or banners – but this should not be overbearing. Tourists find it helpful to see some indication that they are in a cultural quarter, but residents don’t need this for any practical purpose.
The presence of these materials performs a branding and communication function only Empower your visitors with tools to navigate Cultural hubs need to be altruistic and flag up secondary attractions that will appeal to audiences, like architecture, food markets, refreshments and retail.
Develop a dynamic digital presence
All audiences now use social media to plan cultural outings. Social platforms allow your hub venues to talk as one, particularly if you don’t have a joint website, and allow you to deliver content and event messaging with immediacy.
To navigate these, audiences expect joint print materials such as posters and leaflets – and maps are an essential inclusion to describe the footprint of the hub and allow route-planning.
Your maps should be bespoke, and provide plenty of supporting detail such as scale, distance, ourney times between venues, and parking.Our research also showed that there is significant desire among consumers for a hub app that would detail programming, suggested itineraries and walks – similar to our Art Guide.
Reward your visitors’ loyalty
Your visitors are key to making a hub work. For it to become a genuine communal space, it needs to feel like one. Our research found that it’s important to reward your visitors for their participation.
Respondents react very positively to the notion of a loyalty card that involves all hub venues. When a certain number of check[1]ins at venues is reached, rewards are released – and these rewards should go beyond a free coffee, which is seen as too mundane and something high street coffee shops already offer.
（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）
Theming of ideas and content across hubs has considerable appeal, but the theme needs to be watertight and substantial. A clear theme strengthens hubs’ ties both internally and externally, making the offer feel more cohesive.
People engage differently depending on where they live.
Our research found that behaviour is dependent on where people areculturally active. Principally, cultural consumers’ behaviour is determined by whether they live in or outside London.
London is a hotbed for hubs
Because of the proximity and concentration of cultural venues, hubs work well in London.
Londoners use hubs to make the most of the capital’s abundance of cultural venues – whether these hubs are formally working together, or are being created by the consumer themselves. Visitors to London and tourists also use hubs to consume lots of cultural activities in a smaller visiting window, and to help themnavigate the city’s culture.
Regional hubs have great potential Overall, regionally there are significantly fewer areas with a concentration of cultural venues than in London – and even where there is a high density of museums and galleries, local consumers don’t tend to culture-stack.
If there are exhibitions at two galleries nearby, they will tend to go to each on a different occasion rather than combine their visits,responding: 'I don’t need to do it all at once when it’s on my doorstep'
However, hubs can still work well outside London as they can embed a sense of regional and civic pride.This feeling is very powerful, and you may want to think about how you could harness it in your vision.
Your hub could become a beacon for the area; something residents want to champion.It could even encourage a reappraisal of the area.Promoting somewhere as a place of culture can lift previously entrenched barriers to visiting. Finally, since they increase awareness of all attractions within them, hubs can signpost and facilitate cultural days out – helping shiftpeople’s preferences from simply visiting a museum or galleryto planning an itinerary for a cultural outing.
All venues should be walkable For a cultural hub to work, itshould be easy to ‘join the dots’.The acid test for any hub is if a visitor can explore it on foot. Journeying between different destinations needs to be economical, effortless and enjoyable.
Anything beyond four cultural venues was dismissed by respondentsas too big. If hubs become too unwieldy, either because of the numberof venues involved or the large geographical area they cover, they become irrelevant to consumers.
Hubs can champion smaller venues Cultural hubs encourage engagement with smaller, less well-known venues alongside well-established or even iconic organisations. But while a hub may have a lead venue, it could also consist of a group of less prominent organisations that form an exciting mixof cultural offerings. Cultural hubs aren’t solely defined by ‘landmarks’. Secondary attractions such as food and retail, architecture or street performers form an integral part of the offer.
Moreover, visitors see hubs as fluid in their composition and expect them to be multifaceted. The energy of a hub, its sensorial elements such as music, food and drink and street art, and a sense of community are all integral.
The concept has real appeal While the term ‘cultural hub’ isn’t particularly confidently known by cultural consumers, the concept has significant appeal.
Among consumers, 42% say they are definitely not aware of the term and 46% say they think they are aware of it. Only 12% say they aredefinitely aware of it. However, cultural consumers, particularly in London, do plan visits tomultiple venues in a single visiting window. While they might not use the term, the concept is recognised – and attractive.
We asked: Which of the following cultural hubs are you aware of? Hubs can satisfy diverse interests Cultural hubs comprising organisations with distinct and differentiated offerings can offer variety to visitors.
Meanwhile, thematic hubs such as Yorkshire Sculpture Triangle offer depth around a single subject and can also provide an opportunityto engage with smaller, less well-known venues in a grouping. Ultimately, hubs can deliver volume of content for the voracious cultural consumer as well as encourage piecemeal and spontaneous engagement with a particular site.
Visitors want to 'culture stack'
There is consensus around the ideal hub mix. Visitors expect at least one or two iconic, high-quality venues, which act as the main draw.
They don’t accept one single site or venue with a diverse culturaloffering as a hub, although some organisations try to brand themselves as such.
Visitors want to ‘culturestack’ – to engage with a number of venues during a single visit.
When visitors culture-stack, their engagement tends to be more around permanent collections than temporary, paid-for exhibitions –for reasons of expense as well as an unwillingness to commit to several detailed exhibitions over a short period.
We asked: How appealing do you find a clustering of cultural venues and activities such as galleries, museums, performance venuesand iconic architecture, etc?
Cultural hubs: How to create a multidimensional experience by Art Insights
What is a cultural hub?
A clustering of cultural venues such as museums, galleries and performance spaces with secondary attractions including food and retail.
Did you know cultural hubs are on the rise in the UK? As museums and galleries increasingly pool resources, content and marketing, cultural consumers are also demonstrating an appetite for experiences that are multidimensional and incorporate more than one venue.
In recent years we have seen the launch of several interesting museum partnerships and marketing initiatives, such as the Cornwall Museums Partnership, Bath Museums Partnership, Coastal Culture Trail, London’s Museum Mile, Yorkshire Sculpture Triangle and Art in Yorkshire.
What we haven’t known until now is the scope of UK audiences’ appetite for these kinds of groupings, or the scale of opportunity they present to attract and increase visitors – whether formally as ‘hubs’ or through a more informal setup.
In 2015 we commissioned research to discover how organisations could best capitalise on cultural hubs in order to grow audiences.
We hope the results provide actionable insights you can use when collaborating with your peers to create a hub.
Aims and approaches
Our aim:
To grow your audiences through a shared vision Our research was designed to find out how, by teaming up and collaborating, you may be able to find creative, cost-effective ways to engage new visitors – and take your organisation from venue to multidimensional experience.
Our approach
The research project comprised three stages:
1. Stakeholder research Quantitative survey among cultural marketers
2. Visitor research In-depth qualitative research using focus groups comprised of different cultural consumers – Classically Cultured, Contemporary Cultured and Leisure Magpies – across four regions of the UK
3. Testing Quantitative survey among cultural consumers to test significance of findings
Cultural Consumers
1 Classically Cultured Cultural consumers with a fairly traditional and classical repertoire
2 Contemporary Cultured Cultural consumers with a voracious, diverse and progressive repertoire
3 Leisure Magpies More mainstream cultural consumers with a varied leisure repertoire
Insights and observations
Current engagement is varied Our research found that, at this stage, even cultural marketers aren’t fully engaged with the term ‘cultural hub’.
In 2015 just over a third of people working in museum or gallery marketing departments claimed to be aware of the term in isolation. But when the concept was described there was more recall, and over half of marketers thought there were currently more than 10 cultural hubs in the UK.
With the subjugation of ligor by Sukhothai about 1280 the suzerainty over Pahang fell to the Thai in the 14th Century. In the same century Pahang suffered an invasion from Majapahit which thereafter claimed that State as one of its conquests. This raid may have had no lasting effect (20), thought it appeared that it resulted in inter-marriage between members of the ruling family of Majapahit and the princes of Pahang. The Thai over-lords of Ligor apparently did not interfere with the Ligor dynasty in Pahang but they, too, may have contracted marriage alliances with the Pahang royal family. The new empire had arisen in the nor contented itself with exciting tribute from Pahang and establishing settlements in the country.
The Pre-Malaccan people of Pahang lived by mining gold, tin, and iron and planning rice. They left many traces; irrigation works, mine workings, remains of brick building, specimens of Sawankalok pottery, and probably the pottery industry at Kuala Tembeling which has survived through years to the present days. The pre-Malaccan occupied the Tembeling, Thet can be traced as far as south as the Merchong. They extended into the Pahang and the Jelai;their tracks can be found along lake Chini up to the Headwaters of the Rombin; in the old Selinsing mines scoops of Palas wood used by them have been discovered. They left numerous relics in gold-working at Tresang and Sempore. They make their way to bebar, They established settlements at Jeram Kuai (Koi) and Jong Berlabon on the Tembeling, at Lubok Pelang, Lubok Paku, at Chini, at Langgar, at Pengkalan Durian in Ulu Bebar, at pura, and else where. Their occupation is commemorated by the nomenclature of places such as Chini, Parit Siam, Tambak Siam, Lubang Siam (or Lumbong Siam),, Parit Siam, Sungai Lego (Ligor) a tributary of the Tekam in the vicinity of Kota gelanggi. (21)
(Chapter 2, The Pre-Malaccan People, in A History of Pahang, W. Linehan, Silverfish Malaysia Classic Series 18, 2020, Pakka English Enterprise, pg. 15-22, Previously published as Volume XIV Part II, Journal of the Malayan Branch of the Royal Asiatic Society in May 1936 )
Candrabhanu a king of Ligor who, according to the Jaiya inscription (which has now been discovered to have come from Ligor and not from Jaiya or Chaiya). styled himself Seri Dharma- raja and Lord of Tambralinga, the Ceylonese "Mahavamsa" tells us, led two hostile expeditions against Ceylon about the middle of the 13th century with Javaka (Malay) forces. (14)
By 1292, Ligor had become the extreme southern limit of the Thai kingdom of Sukhodaya (Sukhothai). Now Logor has been widely accepted as being the Tan-ma-ling of Chan Ju-Kua 15 and the Tambralinga of the Jaiya inscription. There are two localities in Pahang which are suggestive of the name given by the Chinese chronicler: the river Tembeling which, the discovery of numerous Neolithic and early iron-age implements there indicates, was at one time a thickly populated district, and Tanjung Tembeling the northern headland of Kuantan river. Was there a connection between these places and Logor?
The history of the Ming Dynasty states that the Pahang ruler who sent envoys to China in 1378 was called Maharaja, the same style as that affected by the King of Logor. When the Malacca forces conquered Pahang about 1454, according to the Malay Annals, (16) they found there a “Siamese” prince with the title Maharaja Dewa Sura, king oi Logor (who bore the same title as that of the prince who ruled in Pahang about 1454), on the instruction of the king of Siam invaded Pahang.，following the route Tembeling.
It is not unlikely that this invasion state was in reassertion of a pre-Thai Suzerainty , that is to Ligor, the Tan-ma-ling of the Chinese and the Tambralinga of the Jaiya inscription, that we must look at least during one period, for the origin of the pre-Malaccan rulers of Pahang., and that it was the men of Ligor who give the name of their country Tan-Ma-ling to the river Tembeling, (18)，a highway of communication between Pahang and the north, and to Tanjung Tembeling at Kuantan, the only safe anchorage for their fleet on the coast during the season of the north-east monsoon (19), and the port of access to the rich tin mines of Sungai Lembing. To Ligor, a state powerful enough to invade Ceylon twice during 13th cebtury , the conquest of Pahang must present no great difficulty.
At that time the ruler of Pam governed Syncapura : and the monarch who resided in Pathane, the metropolis of the Malayos, was tributary to the empire of Syam, for right clown to the present day the Malayos regard the latter as their master: while the head of the principal empire and administration was the Emperor of Attay .... "
He adds : ·' Permicuri,2 by birth a Jao of Palimban in Samatta or the Golden Chersonese allied himself in marriage with the lords and monarchs of Patane and Pam who belonged to the family of the Malaios .... " 3
[Pg 18]
This first Malaccan potentate chose Malacca as his headquarters about the end of the 14th century. cl'Eredia relates that:
" Permicuri selected this spot in the interests of his own safety, for he stood in fear of the ruler of Pam, over-lord of the countries of Ujontana, who was making warlike preparations to capture him, in consequence of the treachery which Permicuri had perpetrated in Sincapura, when he assassinated the ' Xabandar ' who was telated to the lord of Pam, despite the kindness which the ' Xabandar' had shown at his house in Syncapura, when Permicuri took refuge there in his flight from his father-in-law the Emperor of Java Major .... " 4
In the same chapter d'Ereclia calls Permicuri the " flrst king of the Malayos." According to d'Albuquerque's "Commen- taries," it was the ruler of Palani of whom Permicuri stood in fear, and the murdered chief's name was Tamagi.
d'Eredia (12) states that the religion of Islam was in introduced into Patani and Pahang before it was accepted by "Permicuri at Malacca in the year 1411." That statement is certainly true of Trengganu (which at that time appears to have formed a province of Patani), and is probably true of Pahang, though we have no other evidence to show that Islam was practised in the country before 1454.
Mahayana Buddhism, on which were superimposed Tantric orgies involving human sacrifice, had reached the Malay Peninsula about the 8th century. Its influence in Pahang, I though it waned with the introduction of Islam as the State religion about 1454, may be traced up to the beginning of the 17th century.
In the 12th century the kingdom of San Fo-ts'i began to decline, and by the 14th century, in the south, the east-Java state of Majapahit had become predominant, while, in the north, by 1292, the Siamese (Thai) kingdom, with its capital at Sukhodaya, had emerged.
8. d'Eredia's "Description of Malacca," translation by J.V. Mills, loc. cit., p. 3 9. An incorrect rendering of Parameswara. 10. aop. cit., p. 57. 11. op. cit., p. 16. 12. op. cit., p. 49. 13. JRAS (Journal Malayan Branch [Vol. XIV, Part II, History of Pahang. 9 ~
A vassal of San Fo-ts'i, according to Chau Ju-Kua, was Tan-ma-ling. Gerini (13) identified this country with Kuantan, a district of Pahang, on the ground that the north promontory of the Kuantan river was called Tanjong Tembiting, '' Cape Ternbeling.''
The Hsing-ch'a Sheng-lan, written in 1486 by Fei Hsin, a Chinese Moslem and an Arabic scholar, gives the following interesting account of Pahang and its people :
" This country is situated at the west of Siam ; it is surrounded by rocky ridges of mountains, which, seen from a distance, have the appearance of a table-land. The ground is fertile, and they have abundance of rice. The weather is often very warm.
"Their customs cannot be much praised; they make human images of fragrant wood, and kill people in order to make a sacrifice of the blood, when they pray for luck or try to ward off evil.
" Men and women have their hair in a knot, and are clad with a single piece of cloth. Girls of rich families wear four or five golden circles on their foreheads, and the daughters of the common people use strings of coloured glass beads instead.
" They boil salt out of sea-water, and make wine by fermenting rice-gruel. " Products of the country are lignum-aloes, camphor, tin and a kind of wood used in dyeing. Articles of import are gold, silver, coloured silks, Java-cloth, copper and iron- ware, gongs, boards, etc."
[pg. 18] According to d' Eredia, Pahang was the second Malay kingdom in the Peninsula, in succession to Patani, and flourished before the founding of Malacca ; the ruler of Pahang in the latter part of the fourteenth century, a relative (by marriage) of Parameswara, first ruler of Malacca, was Lord of Ujong Tanah (the southerly part of the peninsula including Singapore).
d'Eredia 2 records that .: " Pan was the second seat of the Empire of the Malaios ; its site lies on the eastern coast of the Peninsula in three degrees of North latitude; the port is just as much frequented by merchants, because of the gold from its auriferous mines : it contains the best and largest gold-mines in the whole Peninsula : it was from here, one presumes, that there came the gold which formed the subject of the ancient trade with Alexandria .... "
The same chronicler writes : （8） " It is to be noted that the eastern coast of Ujontana was peopled and frequented before the other 01: western coast : thus the histories relate that Malayos, was inhabited Pattane and Pam before the foundation of Malacca. "
Tajau of the Chinese chronicler may be Tanjong, and the reference may be to the northern head-land of the estuary of the river Pahang which was known to sea-farers as TanJong Pahang, " Cape Pahang."
Pa-la-mi-so-la-ta-lo-si-ni was almost certainIy the Chinese rendering of Parameswara Telok1 Chini, " the prince of Chini Haven." Chini, which, in Siamese, means gibbon, gives its name to a mountain, a lake, a stream and a village situated about forty miles from the mouth of the river Pahang. There pre-Malaccan remains have been found. （3） In the same locality is Luit, with a village Singgora called after the capital of Patani, where, too, there are traces of pre-Malaccan habitation.3 Except on the banks of the river, Chini is still jungle-clad, and little investigation has yet been done. For the Malays, Lake Chini has associations with the past : in their eyes the lake and its adjoining mountain are sacred, and they credit the place with the possession of a white crocodile styled Seri Pahang: "the glory of Pahang." It is possible that the lake did not always exist in its present form and that it covers the site of an ancient town. Only when the jungle gives up its secrets will the truth be known.
[pg 17] Assuming the correctness of these identifications, we then have, in 1378 A.D., a king at Tanjong Pahang known by the designation of Maharaja, and, in 14ll A.D., at Chini, a ruler with the style of Parameswara4, a title also used by the founder of Malacca. Did these two kingships exist contemporaneously or do both titles refer to the same undivided line of rulers with merely a change o[ residence, or is it to be supposed that between 1378 and 14ll the king at Tanjong Pahang was displaced by the Chini potentate? These are questions which cannot, at present, be answered.
We are told by d'Eredia that the kings of Pahang ruled only the coastal region. We know that the ruler of Pahang, at the date of its conquest by the Malacca Malays about 1454, bore the title of Maharaja. There is reason to believe that, at least as far as the people were concerned, apart from their rulers, the region of Kampong Melayu near Chini was at one time the boundary between the Malays and another race.1
2 Menangkabau: telok, a bay, or a bend in the river, commonly used in the expression telok rantau
"the bends and the reaches " of a river.
3 J. M. B. R. A. S., Vol. VI, Pt. IV, 1928, p. 79.
4 Journal, F.M.S. Museums, Vol. IX, Pt. 2, 1920, p. 152.
5 Dr. P. V. van Stein Callenfels points out that the term Parameswara seems to have been, in mediaeval times, in Majapahit and Bali the special title of the non-royal husband of a ruling princess, and that the word where it occurs in old inscriptions, designates the consort of a queen.
7 J. M. B. R. A. S., Vol. VI, Pt. IV, 1928, p. 81. 1 " Report on the Golden Chersonese," translation by J. V. Mills (J. M. B. R. A. S., Vol. VIII, P t. I, p. 233).
In the seventh century A.D. a kingdom called by Chinese chroniclers San Fo-ts'i which has been identified by Dr. Coedes with the Malay Seri-Vijaya with a capital, at one period, situated in Palembang, became predominant in the Malay Archipelago and the Peninsula. This empire has been thought to be the contem- porary Zabug or Zabag of Arab geographers. In 1225 A.D. the Chinese writer Chau Ju-Kua, apparently describing conditions in the preceding century, records that Pong-fong (Pahang) was one of the dependencies of San Fo-ts'i. Another vassal state of San Fo-ts'i was Tan-ma-ling, to which place we shall return presently. The Tao i chik lio written by Wang Ta-Yuan in 1349 makes mention of P'eng K'eng (Pahang) and Pa-tu-ma (?Pulau Tioman) among other regions.
According to the Nagarakrtagama, composed in 1365, Pahang, Ujong Medini (Johore), Muar, Langkasuka, Kelantan, Trengganu, Paka and Dungun, Tumasik (Singapore), Sang Yang Ujong (Sungai Ujong), Kelang and Kedah were tributary states of Majapahit. To this list of the Javanese empire's dependencies the " Chronicles of Pasai " add various islands off the east coast of the Peninsula including Pulau Tioman, Pulau Tinggi, Pulau Pemanggil and Pulau Laut.
The History of the Ming Dynasty (1368-1643)1 presents a picture of Pahang in the fourteenth and fifteenth centuries: " Pahang is situated at the west of Siam. In the year 1378 the king, Maharaja Tajau, sent envoys with a letter on a gold leaf, and bringing as tribute six foreign slaves, and products of the country. They were received according to the established rules. "
[Pg.16] In the year 1411 the king, Pa-la-mi-so-la-ta-lo-si-ni sent envoys carrying tribute. In 1412 Cheng Ho went as an envoy to their country, and in the year 1414 they sent tribute a gain.
"In the year 14.16 they sent tribute together with Kalikut and Java, and Cheng Ho was again ordered to go there.
" The soil of this country is fertile; the climate is always warm, and rice is abundant there; they make salt by boiling sea water, and wine by fermenting the sap of the coconut tree.
" The higher and lower classes are on a very intimate footing, and there are no thieves ; they are very superstitious regarding demons and spirits, making their images of fra- grant wood, and sacrificing men. to them, m order to avert calamities or to pray for happiness. "
Amongst the articles which they brought as tribute were elephant-teeth, camphor baros, olibanum, lignum aloes, sandal wood, pepper, sapan-wood, and such more .... "
（1）Book 325, quoted in " Notes on the Malay Archipelago " by W. P. Groeneveldt: Miscellaneous Papers relating to Indo-China, 2nd Series, Vol. I, London, 1887, p. 256. 1936) Royal Asiatic Society.
OVEPI
陳明發《直播：實地直擊》
上網直播，就只能賣化妝、護膚、服飾與水晶嗎？等疫情過去，大家可以趴趴走，要玩直播，就不是每天坐對鏡頭，做Point of Purchase Sales talk，示範商品或展覽梗圖。 做地方創生，例如推銷農産或農業文遺，可直闖現場，還可以炫實際勞作體驗、實境遊覽。走走看看，說說笑笑，都是大自然真淳樸的景觀。這點，導遊比一般直播人更占優勢。（9.2.2021）
Feb 9, 2021
OVEPI
陳明發《親情·鄉思·族譽·國名》
中國電影《我和我的家鄉》是一部集錦喜劇片，由《北京好人》、《天上掉下個UFO》、《最後一課》、《回鄉之路》與《神筆馬亮》五個單元合成。
影片在2020年10月1日國慶上映，向中國全面建成小康社會、打贏脫貧攻堅戰的成果獻禮。
片子在2020年5月開機，採用與前作《我和我的祖國》相同的製作模式，由張藝謀擔任總監製，寧浩擔任總導演，張一白擔任總策劃，寧浩、徐崢、陳思誠、閆非及彭大魔、鄧超及俞白眉聯合導演。
影片通過五個故事單元，講述了發生在中國東西南北中五大地域的家鄉故事。
該系列續作、建黨百年獻禮影片《我和我的父輩》預計於2021年國慶檔上映。
2020-10-13《人民日報》評議《我和我的家鄉》: 真情描繪小康生活美好畫卷，熱情謳歌脫貧攻堅偉大成就，是思想性、藝術性俱佳的文藝精品，取得了口碑和票房雙贏，實現了社會效益和經濟效益雙豐收，成為又一部現象級電影作品。影片的成功為主旋律創作帶來諸多啟示: 一是愛國主義永遠是電影創作的主旋律，二是人民是電影創作永恆的原動力，三是在以小見大中不斷創新藝術表達，影片才能贏得觀眾的共鳴與共情。 (資料參考/引述《維基百科》)
2020年，全球正困頓於冠病疫情中。中國從農曆新年前即全國封鎖禁足，數月後逐步重新開放，最後全民脫下口罩，標誌抗疫成功。
《我和我的家鄉》在人們久離娛樂後的關鍵時刻上映，又遇上國慶黃金檔期，賣座是肯定的。最重要的是，電影富含“親情·鄉思·族譽·國名”的感性元素；放在全人類抗疫的背景前，這份情愫顯得特別的“文化自信”。
《我和我的家鄉》的《最後一課》影片裏有一所外表看起來流光溢彩的小學（下圖），它就是來自浙江省會杭州淳安縣的“中國最美鄉村學校”——富文鄉中心小學。這所學校因爲這部戲而成為了2020年中國疫後國慶小長假遊客們的新晉打卡聖地。(2.4.2021)
Apr 4, 2021
OVEPI
（3）以開發區為區位依附。這類文化創意產業園主要是以高新技術產業園區為區位依附。因為高新技術產業園區內高新技術產業發達，高校、科研機構、高科技企業聚集，科技與文化相結合的智力型人才眾多，最適宜發展文化與科技結合的文化產業。高新技術產業區都有著大量的信息產業，這些產業跟文化產業能夠實現很好的融合。屬於此類型的有位於中關村高科技園區內的中關村創意產業先導基地；位於大連市高新技術產業園區的國家動畫產業基地；位於上海浦東張江高科技園區內的張江文化科技創意產業基地等等。
（4）以傳統特色文化社區、藝術家村為區位依附。屬於這種類型的主要有兩種情況：一種是依托一些傳統的文化區域，在這些區域文化底蘊深厚，文化氛圍濃郁，利於開發特色文化產業產業園區。如四川德陽三星堆文化產業園、北京高碑店傳統民俗文化創意產業園等等。第二種是依托位於城鄉結合部的一些藝術家村，有些是屬於創作型的園區，如北京的幾個畫家村；有的則已形成產業化運作，如位於深圳特區郊邊龍崗區布吉鎮的大芬油畫村等。
2、按文化創意產業園區性質劃分為5種類型：
（1）產業型。一是獨立型的。園區內，產業集群發展相對比較成熟，有很強的原創能力，產業鏈相對完整，形成了規模效應。如深圳大芬村，以繪畫藝術為主，也已經形成一定的產業鏈條，及規模效應，但原創能力不強，而且這是中國此類文化創意產業園普遍存在的問題。二是依托型的。依托高校發展，也形成了一定的產業鏈條。如上海虹漕南路創意產業園，同濟大學周邊的現代設計產業園區等等。
（2）混合型。這種類型的文化創意產業園往往依托科技園區，並結合園區內的優勢產業同步發展文化產業，但園區內並未形成文化產業鏈條。如張江文化科技創意產業基地、香港數碼港等。
（3）藝術型。這種類型的園區也是創作型園區，原創能力強，但藝術產業化程度還較弱。國內最有名的藝術園區有北京大山子藝術園區、青島達尼畫家村等。
（4）休閒娛樂型。這類文化創意產業園區主要滿足當地居民及外來游客的文化消費需求。最有代表性的是上海的新天地、北京長安街文化演藝集聚區等。
（5）地方特色型。如北京高碑店傳統民俗文化創意產業園、潘家園古玩藝術品交易區等。此外，按照影響范圍來分又有國際型、國內型和地區型；還可按園區最初的形成分為自發形成和政府運作形成的文化創意產業園。由於文化創意產業園在中國還是一新生事物，發展變化快，園區類型之間的界限並不是很明晰，在這進行的類型劃分僅是根據當前的一些情況進行的劃分，今後隨著城市文化創意產業園發展逐漸成熟，園區類型的劃分將會進一步完善。
規劃
文化創意產業是下一波房地產的概念，也就是用文化創意產業來帶動房地產的開發。文創產業所帶動房地產的特色就是復合性及大規模。
特點
複合性，指的是它的綜合性，可能包括了設計，商業，傳產，交通，物流，農業，旅游，教育，工業，餐飲及住宅。也就是把以前的住宅，工業，農業，旅游，教育，傳產的開發，綜合在一起，形成一個超級綜合開發體。
大規模，就是因為它的綜合性，他是一個超級綜合開發體，所以規模特別是土地面積都會很大。動輒幾千畝甚至上萬畝，幾乎就是新市鎮，新市區的開發。
要點
1.綜合性的關聯
綜合的目的是要能彼此呼應，互相拉動。所以各個單項產業與其它產業要能夠聯動，比如一個工業生產區，就必須跟物流密接，而物流又需跟交通密接。而生產區也需跟住宅密接，以提供人員的生活起居，生活區必然要跟交通，商業密接。同時生活區也會跟設計，餐飲密接。如何讓整個產業區內的各個分項區獨立而聯動，必須詳細的規劃。每個產業區的條件與主題概念不盡相同，所以關聯方式也會不同。 [1]
2.交通流線的安排
交通永遠是一個開發成功與否的前提，而且交通流線不但是各個分區的分隔線，也是連接線。當然按照交通流線的設計，還要細分主次干道，穿越聯通道的分別。
3.土地面積的分割
所謂分割，一是代表面積大小，二是代表土地使用的強度。面積是二度空間的大小，強度是三度空間的使用。這裡面也牽涉了都市風貌包括天際線的設計。三度空間也是建築容積的計算，對於各個分區的使用強度制約，也是開發的最終收益的計算基礎。
4.主題的設定
雖然都是文化創意產業，但是仍然應該要有主題也就是特色。主題特色的設定可能是順應現有的主客觀條件，比如原來當地已經有某種主流產業，或者原來已有一個歷史文化傳統，這些是主觀條件，比如附近已有旅游景點，交通要道等，這是客觀條件。沒有主客觀條件的，也可以創造一個主題，比如有的以台灣為主題，有的是以台灣創意，台灣特色為主題。也可以用綠色建材產業為主題，太陽能產業為主題。或者以設立設計中心，特殊教育學校為主題。
5.啟動區的規劃
由於是一個超級綜合區的開發，如何啟動變成非常重要的一環，啟動區要能夠有帶動的能量，牽涉到號召力與資金鏈的拉動。這裡其實就關聯到主題，啟動區應該就是整個產業區主題的啟動。啟動區要能夠投入以後，迅速產生回報，不論是直接的比如銷售房地產，或者間接的，比如吸引更多更大的企業的進入產業園，迅速將土地開發進入生產區。
6.開發的順序
這裡其實已經包括了啟動區，只是啟動區是唯一的，但是之後的開發就不是唯一的選擇。之後順序，應該要考慮到前面說過的關聯性聯動性，還有就是資金鏈的連接性。順序的考慮一方面要能夠按部就班又能快速，但是也要考慮前期價值與後期價值的平衡。前期的土地要能夠位置優但是又不能太貴，才能吸引人快速投入。但是後期的土地如果都是位置較差的，可能會後繼無力，或者無法享受到開發成熟的結果。順序也牽涉到土地的定價策略。（百度）
Jan 21
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活動
文化創意產業園區基本的前提是文化生產與消費活動的呈現，文化產業的核心內容是創意，而創意靈感的獲得往往來自於與其他同行相互接觸的刺激，在眾多的活動中特別是多樣化文化聚會地點的出現，通常能充分提供人們之間的相互交流以獲取靈感。因此，集聚地點的設置通常被考慮到文化創意產業園的發展策略中。
建築形式
最適合一個文化創意產業園區活動空間的城市環境應傾向於有一個半徑為 400米，建築平均5-8層，在10米范圍有非常少的街道（包括人行道）。文化創意產業園區應該有非常多功能的公共領地。它提供人們聚會交流的空間，也為園區內的交易提供場所，這樣一個區域將具有滲透性。成功的文化創意產業園區傾向於有幾個具有活躍、滲透性強、臨街地帶的街道，或至少有一些活動的結點，便於人們在其間很容易走動。
意義
文化創意產業園要像物質一樣能存在於人們頭腦之中，也就是說人們參觀之後能形成和保留園區的印象，而這些印象的形成取決於文化園區的活動、風格、形象。成功的文化創意產業園區應是革新和創意的地方，在設計和欣賞方面經常是超時代的，並且這些超時代理念被帶入園區的建築設計、內部裝飾、甚至重要街道和空間的照明等方面。文化創意產業園區應刺激新的理念，成為新產品和新機會能得以開拓、努力嘗試的地方。因此，文化創意產業園區意義方面的特征體現具有歷史和發展意義、園區身份和形象及知識性、環境意識等方面。
類型: 國外的劃分
從不同的角度，文化創意產業園有不同的劃分方法。Hans. Mommaas在分析荷蘭5個文化創意產業園時提出，文化創意產業園類型的區分有7個核心尺度可以參考：園區內活動的橫向組合及其協作和一體化水平；園區內文化功能的垂直組合—設計、生產、交換和消費活動具體的混合，以及與此相關的園區內融合水平；涉及到園區管理的不同參與者的園區組織框架；金融制度和相關的公私部門的參與種類；空間和文化節目開放或封閉的程度；園區具體的發展途徑；園區的位置.。Walter Santngata根據功能將文化創意產業園分為四種類型：產業型、機構型、博物館型、都市型 。
1、產業型。這類型的文化創意產業園主要是以積極的外形、地方文化、藝術和工藝傳統為基礎而建立的。此類園區的獨特之處在於其「工作室效應」和「創意產品的差異 」。
2、機構型。這種類型的文化創意產業園主要是以產權轉讓和象征價值為基礎而建立。其基本特征是有正規機構，並將產權和商標分配給受限制的生產地區。
3、博物館型。這種類型的文化創意產業園主要是以網絡外形和最佳尺寸搜尋為基礎而建立。園區通常是圍繞博物館網絡而建，位於具有悠久歷史的城市市區。其本身的密度能造成系統性效應，吸引旅游觀光者。
4、都市型。這種類型的文化創意產業園主要是以信息技術、表演藝術、休閒產業和電子商務為基礎而建立。通過使用藝術和文化服務，賦予社區新生命以吸引市民，抵抗工業經濟的衰落，並為城市塑造新的形象。
中國的劃分
由於文化創意產業園在中國的發展還處於胚胎期，因而對其的分類很少。結合中國實際情況，主要從區位依附、園區性質等方面對文化創意產業園的類型進行劃分。
1、按區位依附劃分為4種類型：
（1）以舊廠房和倉庫為區位依附。城市中被廢棄的舊廠房和倉庫，因其寬敞明亮的空間及廉價的租金，或面臨閒置空間再改造的境遇，往往成為文化創意產業園的又一滋生之地。國外許多成功的文化園區就是以舊廠房和倉庫為區位依附的。中國較早出現的大山子藝術區依托於北京朝陽區酒仙橋路798工廠的老廠房。上海近些年成長起來的創意產業園區絕大部分也是由舊廠房和倉庫改造而成。泰康路210弄的「田子坊」創意產業園區，位於上海20世紀30年代最典型的弄堂工廠群；建國中路10號的「八號橋」創意產業園區，位於上海汽車制動器公司的老廠房。這些創意產業集聚區，利用現有建築創造了創意產業發展的平台，又保護了歷史文化財產，是文化產業與工業歷史建築保護、文化旅游相結合，建築價值、歷史價值、藝術價值和經濟價值相結合的良好典范。
（2）以大學為區位依托。大學作為技術的發生器，可以不斷開發新的科技；同時它又是各類人才的聚集地，不但培養人才也吸引著各領域最優秀的人才；大學也是一個開放的社區，是一個提供多元文化的場所，大學往往成為創意的中心 。因此，依托大學發展文化創意產業園也就成為一種重要的途徑。如上海的楊浦區赤峰路建築設計一條街依托的就是中國著名高等學府同濟大學，上海長寧區天山路時尚產業園依托的是東華大學和上海市服裝研究所，正在建設中的中國人民大學文化產業園及TCL（廣州）文化產業基地都是以大學為區位依托的。
Jan 21
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文化創意產業園（Cultural and Creative Industry Cluster）
國內外尚無對文化創意產業園概念的統一界定。在對文化創意產業園概念詮釋的基礎上，結合中國具體實情，嘗試將文化創意產業園的概念界定為：文化創意產業園是一系列與文化關聯的、產業規模集聚的特定地理區域，是以具有鮮明文化形象並對外界產生一定吸引力的集生產、交易、休閒、居住為一體的多功能園區。
產業園區建設與傳統房地產開發具有部分替代性。而當前國家對傳統房地產項目不斷的進行調控，這也客觀上為產業園區建設創造了更大的經營空間，減少了產業地產的投資風險，提高了園區運營的穩定性和可控性，吸引了更多傳統住宅房地產開發商的目光。金融危機之後，大約有12%的傳統房地產開發商轉投產業園建設項目，從2005年第一次房地產調控開始，則有約30%的傳統房地產商轉向產業園建設開發，二線城市比例稍低。
除了聯東U谷以外，亦有不少企業進軍產業園建設。例如遠洋地產也在大連高調挺進產業園開發，珠江地產、富力地產等國內知名地產商之前都紛紛試水產業地產，不僅如此，連格力電器、美的集團、海爾集團等國內家電巨子也不約而同地打著產業擴軍的旗號大舉圈地，建造自己的產業園區，甚至是像浙江的民間資本也開始將資金投向產業園。
從地方經濟發展趨勢看，產業園區確實逐漸成為區域經濟發展的引擎，帶動著區域整體實力提升。但是不容忽視的是由於產業地產開發及運營剛處於起步階段，開發企業和運營商的經驗不足，加之在開發過程中會面臨地方政府的干預，容易出現過度追求稅收、缺乏對園區系統科學的專業規劃、吸引追求低成本和低稅收的產業進駐等問題，容易引發區域集聚效應差、土地利用效率偏低、企業同質化競爭嚴重、忽視構建產業環境、配套不平衡、產業帶動作用不明顯等諸多問題。
基於產業園開發運營現狀及存在的問題，本報告提出了相關改善方案，主要從中國產業園區建設行業的發展現狀、開發及經營模式、傳統房地產商在產業園建設領域及園區投資運營企業間的競爭形勢等進行分析;由於產業園區作為一個具有獨特吸引力的區域體，具有復雜的雙重屬性。它一方面是相關企業的區域聚集體，表現出一定的宏觀性;另一方面由於其運營方式多為政府投資或規劃，開發企業管理運營，因此又具有一定的微觀性。
（一）國外關於文化創意產業園概念的界定
隨著文化創意產業園（簡稱文創產業園）在西方城市的發展，相關的研究也越來越多。對文化創意產業園概念進行的探討有德瑞克·韋恩提出的文化園區概念，Hilary Anne Frost-Kumpf提出的文化區概念。在德瑞克·韋恩看來，文化園區指的是特定的地理區位，其特色是將一城市的文化與娛樂施以最集中的方式集中在該地理區位內，文化園區是文化生產與消費的結合，是多項使用功能 (工作、休閒、居住)的結合。 Hilary Anne Frost-Kumpf認為文化園區指的是一個在都市中具備完善組織、明確標示、供綜合使用的地區，它提供夜間活動且延長地區的使用時間，讓地區更具有吸引力；提供藝術活動與藝術組織所需的條件，給居民與游客相關的藝術活動；提供當地藝術家更多就業或居住的機會，讓藝術與社區發展更緊密結合。
另外Nolapot Pumhiran和Wansborough&Mageean均將文化創意產業園定義為一個空間有限和具有明顯地理區域，文化產業和設施高度集中的地方。這些集群由文化企業和一些自己經營或自由創作的創意個體組成。園區內特殊活動可包括兒童玩樂的場所、圖書館、開放和非正式的娛樂場地。在這些園區中鼓勵文化運用和一定程度的生產和消費的集中。
(二) 國內關於文化創意產業園概念的界定
在中國，與文化創意產業園相關的概念有藝術園區、創意產業園區、文化產業園區等。由於中國文化創意產業園出現較晚，對文化創意產業園的研究也顯滯後，主要有一些對文化產業集群的界定：祁述裕認為文化產業集群是指在地理位置上相對集中，由具有相關性的文化企業、金融機構等組成的群體；向勇、康小明認為文化產業集群就是在文化產業領域中(通常以傳媒產業為核心)，大量聯系密切的文化產業企業以及相關支撐機構（包括研究機構）在空間上集聚，並將文化產業集群劃分為核心文化產業集群、外圍文化產業集群和相關支撐機構等 ；歐陽友權認為文化產業集群是指相互關聯的多個文化企業或機構共處一個文化區域，形成產業組合、互補與合作，以產生孵化效應和整體輻射力的文化企業群落。
園區內形成了一個包括生產——發行——消費產供銷一體的文化產業鏈。
在這方面，John. Montgomery進行了有意義的探討。他通過對文獻的歸納，並以Temple酒吧, Sheffield文化園區,Hindley Stree，Manchester北部園區等為例，分析、總結出成功文化園區的特征主要體現活動、形式、意義三方面：
Jan 21
OVEPI
10 ways to develop a cultural hub:
1. Focus your offer around core venues, e.g. museums, galleries, performing arts venues
2. Embrace partners of all sizes and don’t be afraid to reach out to divergent art forms
3. Be driven by a clear, organic idea that your offer has to measure up against
4. Be as diverse as possible, but communicate as a hub rather than as disparate entities with a shared logo
5. Be a brand, or at least have a brand name and use it to underpin your offer
6. Be altruistic: tell audiences what else they can do in the area, beyond the partners involved in your hub
7. Produce print materials that incorporate a map and practical details
8. Visually communicate a hub that is alive, and write copy with wit and personality
9. Go digital and use social media; consider developing an app
10. Reward loyalty to your hub and all its partners
About Art Insights
Museums and galleries face a challenging landscape. Social, political and economic factors are impacting how they innovate, engage with their visitors and share both knowledge and collections.
With challenges come new possibilities. At Art Fund, we want to help inspire the way forward.
We have commissioned research to explore the potential for museums and galleries to harness change, and reach new audiences. Offering key insights and suggesting actions you can take in your own organisation, our reports focus on a number of current sector trends.
We hope these reports provide rigorous, practical advice, and we invite arts professionals to use
them in shaping the future of their organisation and the sector as a whole.
About Art Fund
Art Fund is the national charity for art. We help UK museums and galleries to build and share collections, do more for their visitors and support the curators of the future.
To keep up to date with our initiatives, funding schemes and news, subscribe to our monthly Museum Bulletin at artfund.org/bullet in artfund.org/supporting-museum
About The Muse Strategy
Based in Soho, London, Muse create marketing, brand and audience strategies. With clients in multiple sectors across the world, Muse have worked with some of the most commercially successful and creatively awarded brands of modern times. Culture sector clients span Art Fund to ZSL London, and include the British Museum, Imperial War Museum London and the V&A.
musestrategy.com
（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）
Related:Regional hubs have great potential
Jan 23
OVEPI
Cultural Hub: Define a distinctive brand
Word of mouth is by far the most influential means of communicating about a cultural hub.
Brand recognition is critical, so your hub needs a brand idea that clearly positions its offer, for example ‘The Knowledge Quarter’. To be credible, your hub has to genuinely live up to that brand idea. The idea should act as a checker to measure all programme and communications activity against.
Speak with one voice Our research found that simply using consistent branding as badging, while each venue communicates on its own, doesn’t work. Cultural consumers want to find out about an experience in its entirety; just listing the components isn’t enough.
Your hub will have a cohesive proposition; a single thought in which it is rooted. It needs to be communicated clearly and with one voice across all participating venues.
Be authentic
A hub needs to be legitimate, and its offer truthfully communicated. Communicate a sense of space In marketing materials, it’s helpful to give a sense of your hub’s lively atmosphere and to visualise people on site. A bit of wit goes a long way and further humanises the hub and its venues.
When respondents were given some existing materials, they were critical of artists’ representations that make venues look very similar or unrealistically close to each other.
All participating venues must communicate the existence of a hub, for example through flags or banners – but this should not be overbearing. Tourists find it helpful to see some indication that they are in a cultural quarter, but residents don’t need this for any practical purpose.
The presence of these materials performs a branding and communication function only Empower your visitors with tools to navigate Cultural hubs need to be altruistic and flag up secondary attractions that will appeal to audiences, like architecture, food markets, refreshments and retail.
Develop a dynamic digital presence
All audiences now use social media to plan cultural outings. Social platforms allow your hub venues to talk as one, particularly if you don’t have a joint website, and allow you to deliver content and event messaging with immediacy.
To navigate these, audiences expect joint print materials such as posters and leaflets – and maps are an essential inclusion to describe the footprint of the hub and allow route-planning.
Your maps should be bespoke, and provide plenty of supporting detail such as scale, distance, ourney times between venues, and parking.Our research also showed that there is significant desire among consumers for a hub app that would detail programming, suggested itineraries and walks – similar to our Art Guide.
Reward your visitors’ loyalty
Your visitors are key to making a hub work. For it to become a genuine communal space, it needs to feel like one. Our research found that it’s important to reward your visitors for their participation.
Respondents react very positively to the notion of a loyalty card that involves all hub venues. When a certain number of check[1]ins at venues is reached, rewards are released – and these rewards should go beyond a free coffee, which is seen as too mundane and something high street coffee shops already offer.
（Source: Cultural hubs～How to create a multidimensional experience by Art Insights）
Related:
Cultural hubs: How to create a multidimensional experience
Jan 24
OVEPI
Visitors connect to a theme
Theming of ideas and content across hubs has considerable appeal, but the theme needs to be watertight and substantial.
A clear theme strengthens hubs’ ties both internally and externally, making the offer feel more cohesive.
People engage differently depending on where they live.
Our research found that behaviour is dependent on where people are culturally active.
Principally, cultural consumers’ behaviour is determined by whether they live in or outside London.
London is a hotbed for hubs
Because of the proximity and concentration of cultural venues, hubs work well in London.
Londoners use hubs to make the most of the capital’s abundance of cultural venues – whether these hubs are formally working together, or are being created by the consumer themselves.
Visitors to London and tourists also use hubs to consume lots of cultural activities in a smaller visiting window, and to help them navigate the city’s culture.
Regional hubs have great potential
Overall, regionally there are significantly fewer areas with a concentration of cultural venues than in London – and even where there is a high density of museums and galleries, local consumers don’t tend to culture-stack.
If there are exhibitions at two galleries nearby, they will tend to go to each on a different occasion rather than combine their visits, responding: 'I don’t need to do it all at once when it’s on my doorstep'
However, hubs can still work well outside London as they can embed a sense of regional and civic pride. This feeling is very powerful, and you may want to think about how you could harness it in your vision.
Your hub could become a beacon for the area; something residents want to champion. It could even encourage a reappraisal of the area. Promoting somewhere as a place of culture can lift previously entrenched barriers to visiting.
Finally, since they increase awareness of all attractions within them, hubs can signpost and facilitate cultural days out – helping shift people’s preferences from simply visiting a museum or gallery to planning an itinerary for a cultural outing.
Jan 25
OVEPI
All venues should be walkable
For a cultural hub to work, it should be easy to ‘join the dots’.The acid test for any hub is if a visitor can explore it on foot. Journeying between different destinations needs to be economical, effortless and enjoyable.
Anything beyond four cultural venues was dismissed by respondents as too big. If hubs become too unwieldy, either because of the number of venues involved or the large geographical area they cover, they become irrelevant to consumers.
Cultural hubs aren’t solely defined by ‘landmarks’. Secondary attractions such as food and retail, architecture or street performers form an integral part of the offer.
Hubs can champion smaller venues
Cultural hubs encourage engagement with smaller, less well-known venues alongside well-established or even iconic organisations.
But while a hub may have a lead venue, it could also consist of a group of less prominent organisations that form an exciting mix of cultural offerings.
Moreover, visitors see hubs as fluid in their composition and expect them to be multifaceted. The energy of a hub, its sensorial elements such as music, food and drink and street art, and a sense of community are all integral.
Jan 25
OVEPI
The concept has real appeal
While the term ‘cultural hub’ isn’t particularly confidently known by
cultural consumers, the concept has significant appeal.
Among consumers, 42% say they are definitely not aware of the term and 46% say they think they are aware of it. Only 12% say they are definitely aware of it.
However, cultural consumers, particularly in London, do plan visits to multiple venues in a single visiting window. While they might not use the term, the concept is recognised – and attractive.
Cultural hubs comprising organisations with distinct and differentiated offerings can offer variety to visitors.
Meanwhile, thematic hubs such as Yorkshire Sculpture Triangle offer depth around a single subject and can also provide an opportunity to engage with smaller, less well-known venues in a grouping.
Ultimately, hubs can deliver volume of content for the voracious cultural consumer as well as encourage piecemeal and spontaneous engagement with a particular site.
Visitors want to 'culture stack'
There is consensus around the ideal hub mix. Visitors expect at least one or two iconic, high-quality venues, which act as the main draw.
They don’t accept one single site or venue with a diverse cultural offering as a hub, although some organisations try to brand themselves as such.
Visitors want to ‘culturestack’ – to engage with a number of venues during a single visit.
When visitors culture-stack, their engagement tends to be more around permanent collections than temporary, paid-for exhibitions – for reasons of expense as well as an unwillingness to commit to several detailed exhibitions over a short period.
We asked: How appealing do you find a clustering of cultural venues and activities such as galleries, museums, performance venues and iconic architecture, etc?
Jan 29
OVEPI
Cultural hubs: How to create a multidimensional experience by Art Insights
What is a cultural hub?
A clustering of cultural venues such as museums, galleries and performance spaces with secondary attractions including food and retail.
Did you know cultural hubs are on the rise in the UK? As museums and galleries increasingly pool resources, content and marketing, cultural consumers are also demonstrating an appetite for experiences that are multidimensional and incorporate more than one venue.
In recent years we have seen the launch of several interesting museum partnerships and marketing initiatives, such as the Cornwall Museums Partnership, Bath Museums Partnership, Coastal Culture Trail, London’s Museum Mile, Yorkshire Sculpture Triangle and Art in Yorkshire.
What we haven’t known until now is the scope of UK audiences’ appetite for these kinds of groupings, or the scale of opportunity they present to attract and increase visitors – whether formally as ‘hubs’ or through a more informal setup.
In 2015 we commissioned research to discover how organisations could best capitalise on cultural hubs in order to grow audiences.
We hope the results provide actionable insights you can use when collaborating with your peers to create a hub.
Aims and approaches
Our aim:
To grow your audiences through a shared vision Our research was designed to find out how, by teaming up and collaborating, you may be able to find creative, cost-effective ways to engage new visitors – and take your organisation from venue to multidimensional experience.
Our approach
The research project comprised three stages:
1. Stakeholder research Quantitative survey among cultural marketers
2. Visitor research In-depth qualitative research using focus groups comprised of
different cultural consumers – Classically Cultured, Contemporary Cultured and
Leisure Magpies – across four regions of the UK
3. Testing Quantitative survey among cultural consumers to test significance of findings
Cultural Consumers
1 Classically Cultured Cultural consumers with a fairly traditional and classical repertoire
2 Contemporary Cultured Cultural consumers with a voracious, diverse and
progressive repertoire
3 Leisure Magpies More mainstream cultural consumers with a varied leisure repertoire
Insights and observations
Current engagement is varied Our research found that, at this stage, even cultural marketers aren’t fully engaged with the term ‘cultural hub’.
In 2015 just over a third of people working in museum or gallery marketing departments claimed to be aware of the term in isolation. But when the concept was described there was more recall, and over half of marketers thought there were currently more than 10 cultural hubs in the UK.
Related:
Hubs can champion smaller venues
How to create a multidimensional experience
Jan 29
OVEPI
中新社記者：中國和RCEP成員國在經貿文化方面有哪些差異性和互補性？中國文化怎樣才能更好地走向RCEP成員國？如何呈現文化間的「美美與共」？
雷小華：中國與RCEP成員國在政治製度、宗教、意識形態等方面差異性較大。傳播中華文化和文化間「美美與共」，需要各方共同努力。
一是發展更緊密的戰略夥伴關係。在地區形勢日趨複雜、雙邊關係遭到域外國家干涉的情況下，中國應與RCEP國家堅持對話合作的大方向不動搖，以真誠溝通促進理解信任，以求同存異妥善處理分歧爭議；加強高層交流、接觸、政策溝通，擴大各層級互訪，促進治理經驗分享，確保東亞合作的可持續性發展。
二是以更包容的心態看待彼此文化差異。正確看待和尊重彼此文化差異，兼容並蓄，相互欣賞對方的優秀文化；針對不同國家、受眾群體，根據政治體製、文化背景、風俗習慣、宗教信仰等分出多個層次，製定「一國一策」；加強文化產業合作，鼓勵文化產業包容性發展。
三是加強市場調研，開發滿足消費者需求的文化產品。正因有差異性，才要加強市場調研，充分了解各國民族習慣和消費習慣，針對不同國家量身定做出適銷對路的產品，例如用更多本地推廣平臺和代言人進行文化產品的宣傳推廣。
中新社記者：廣西南寧舉行的東博會，是促成中國和東盟文化交往和文化貿易的「南寧渠道」。RCEP生效實施後，東博會服務範圍將向RCEP拓展，未來南寧是否會成為中國和RCEP成員國文化交融的中心？
雷小華：未來，南寧可在中國和RCEP成員國文化交融中發揮重要作用。
一是用好中國—東盟博覽會的平臺功能。推動平臺從服務中國—東盟「10+1」向服務RCEP成員國拓展，開辟服務貿易專題展區，進一步擴大文化貿易規模，提升對文化類基礎設施投資建設的水平。
二是積極實施高層對話平臺提升行動。承辦好中國與RCEP國家建交周年紀念活動，鞏固與RCEP成員國的「朋友圈」，辦好中國—東盟文化論壇、中國—東盟博覽會文化展、中國—東盟博覽會動漫遊戲展等多邊活動，並將其擴展到RCEP成員國，為促進中國與RCEP國家的人文交流發揮積極作用。
三是進一步深化人文交流。繼續舉辦「東盟文化周」、美麗中國等文化交流品牌活動；在鞏固傳統人文交流基礎上，拓展科技合作、公共衛生合作、環保合作、國際減貧合作、數字經濟合作等新領域。
四是提升廣西面向RCEP成員國的國際傳播能力。通過創新傳播方式和內容，努力將中國故事、中國形象經南寧渠道傳播到RCEP國家，讓更多民眾了解全面、立體、生動的中國。（中國自由貿易區服務網/文章來源: 中國新聞網 2022-03-17））
西沐：“一帶一路”格局中文化產業發展的取向與維度
習近平:中國願同東盟國家共建21世紀"海上絲綢之路"
黄偉宗：持續發掘海上絲綢之路文化，全方位發揮海洋文化軟實力
培養跨文化能力手冊 : 故事圈
品牌必備圈層營銷指南：破圈三板斧，玩轉圈層營銷！
青年誌轉圈層
如何破圈？5000多字講述破圈背後的文化光譜
Feb 6
OVEPI
雷小華：中國文化在RCEP合作中如何展現「美美與共」？
地緣相近的中國與東盟各國，在日益緊密的交流合作中，雙邊文化相互交融，你中有我，我中有你。風味獨特的東盟美食通過廣西憑祥口岸「飄香」中國各地，預包裝柳州螺螄粉等中國美食亦在東盟備受歡迎。
為順應《區域全面經濟夥伴關係協定》（RCEP）生效實施，中國—東盟博覽會（簡稱「東博會」）的服務範圍將向RCEP成員國拓展，雙方文化交流愈發密切。在中國與RCEP各國經貿合作日漸緊密的背景下，應如何豐富人文交流，展現文化間「美美與共」？廣西社會科學院東南亞研究所副所長、廣西社會科學院東南亞國別研究創新團隊首席專家雷小華近日接受中新社「東西問」獨家專訪，對此進行解析。
現將訪談實錄摘要如下：
中新社記者：中國—東盟自由貿易區的建成對雙方文化交流產生哪些影響？
雷小華：中國—東盟自由貿易區建成十多年來，中國與東盟90%以上的7000多種商品關稅降為零。這對兒童玩具、廣播影視器材、文化節目以及影視劇、電影、動漫等服務貿易的進出口起到促進作用。
當前，中國對東盟的投資方向，正由傳統的基礎設施領域逐步向旅遊景區、旅遊服務平臺、廣播影視等文化類基礎設施轉變，甚至參與文化類節目和產品製作，這在一定程度上提升了東盟國家文化類基礎設施的建設水平，豐富了東盟國家文化產品。
同時，中國與東盟已互為最主要的旅遊目的地之一。特別是在新冠肺炎疫情暴發前的2019年，中國與東盟雙向人員往來創新高，超過6500萬人次，每周往返於中國和東南亞之間的航班近4500架次，中國赴東盟國家遊客3907萬人次。
隨著文化產品貿易擴大、文化類基礎設施建設水平提升以及人員往來規模迅速增長，中國與東盟文化交融的民意基礎日益夯實。
中新社記者：中國—東盟自貿區的建立，給中國人的餐桌帶來哪些變化？
雷小華：中國的經濟發展和強大的內需市場，特別是構建以國內大循環為主體、國內國際雙循環相互促進的新發展格局，給東盟國家帶來巨大出口機遇，特別是農產品和當季水果。如越南已有9種水果可以出口至中國，正在洽談的還有7種。今年春節期間，泰國的榴蓮、山竹，越南的菠蘿蜜、火龍果以及大量水產品經廣西進入中國市場。
東盟國家物美價廉的商品，不僅豐富了中國消費者的餐桌，而且讓早年比較昂貴的水果價格日益親民，榴槤、山竹、菠蘿蜜等已成為中國普通百姓餐桌上司空見慣的水果。
中新社記者：中國和東盟文化相近相通，這對自貿區建設起到哪些作用？
雷小華：中國與東盟地緣相近、民俗相通，彼此熟悉對方，能用最舒適的方式進行交往，相互猜忌和顧忌較少，有利於提升雙方互信水平，全面推進自貿區框架下全方位高水平的合作。
同時，因為文化相近相通，雙方交流語言障礙不多，溝通起來更加方便、暢通，有利於雙方人員往來和經貿合作。中國與東盟互為第一大旅遊目的地，就得益於此。
此外，文化的相近相通讓雙方彼此熟悉對方風俗習慣，有利於企業在當地市場開展調研，生產或推廣適銷對路的產品，滿足各國消費者的需求，有利於實現開拓對方市場和擴大產品市場占有率的目的。
中新社記者：中國與東盟之間人文交流淵源久遠，雙方以人文交流推動經貿合作的經驗，對RCEP建設有哪些借鑒意義？
一是相互尊重，包容互鑒。中國倡導與鄰為善、以鄰為伴，做相互信任和相互尊重的真誠朋友和戰略夥伴。正是有了相互尊重，中國和東盟之間形成了「和而不同」「求同存異」的局面。中國與東盟國家歷史文化多元包容、各具特色，民間交往源遠流長、歷久彌新，社會各界廣泛參與，交流渠道不斷拓寬，各領域交流密切活躍，民眾往來愈益頻繁，交流特色品牌不斷湧現。「親戚越走越近，朋友越走越親」，這個道理也適用於與RCEP國家的交往合作。
二是充分發揮華僑華人的橋梁和紐帶作用。東盟國家有大量華僑華人，他們不僅推動當地經濟發展，也促進了民眾對中華文化的認知和了解，提升中華文化影響力。
三是不斷夯實民間交往基礎。中國與東盟的教育、旅遊等人文交流具有龐大規模，這些是雙邊關係走深走實的基礎。
Feb 6
OVEPI
With the subjugation of ligor by Sukhothai about 1280 the suzerainty over Pahang fell to the Thai in the 14th Century. In the same century Pahang suffered an invasion from Majapahit which thereafter claimed that State as one of its conquests. This raid may have had no lasting effect (20), thought it appeared that it resulted in inter-marriage between members of the ruling family of Majapahit and the princes of Pahang. The Thai over-lords of Ligor apparently did not interfere with the Ligor dynasty in Pahang but they, too, may have contracted marriage alliances with the Pahang royal family. The new empire had arisen in the nor contented itself with exciting tribute from Pahang and establishing settlements in the country.
The Pre-Malaccan people of Pahang lived by mining gold, tin, and iron and planning rice. They left many traces; irrigation works, mine workings, remains of brick building, specimens of Sawankalok pottery, and probably the pottery industry at Kuala Tembeling which has survived through years to the present days. The pre-Malaccan occupied the Tembeling, Thet can be traced as far as south as the Merchong. They extended into the Pahang and the Jelai;their tracks can be found along lake Chini up to the Headwaters of the Rombin; in the old Selinsing mines scoops of Palas wood used by them have been discovered. They left numerous relics in gold-working at Tresang and Sempore. They make their way to bebar, They established settlements at Jeram Kuai (Koi) and Jong Berlabon on the Tembeling, at Lubok Pelang, Lubok Paku, at Chini, at Langgar, at Pengkalan Durian in Ulu Bebar, at pura, and else where. Their occupation is commemorated by the nomenclature of places such as Chini, Parit Siam, Tambak Siam, Lubang Siam (or Lumbong Siam),, Parit Siam, Sungai Lego (Ligor) a tributary of the Tekam in the vicinity of Kota gelanggi. (21)
(Chapter 2, The Pre-Malaccan People, in A History of Pahang, W. Linehan, Silverfish Malaysia Classic Series 18, 2020, Pakka English Enterprise, pg. 15-22, Previously published as Volume XIV Part II, Journal of the Malayan Branch of the Royal Asiatic Society in May 1936 )
Feb 20
OVEPI
Candrabhanu a king of Ligor who, according to the Jaiya inscription (which has now been discovered to have come from Ligor and not from Jaiya or Chaiya). styled himself Seri Dharma- raja and Lord of Tambralinga, the Ceylonese "Mahavamsa" tells us, led two hostile expeditions against Ceylon about the middle of the 13th century with Javaka (Malay) forces. (14)
By 1292, Ligor had become the extreme southern limit of the Thai kingdom of Sukhodaya (Sukhothai). Now Logor has been widely accepted as being the Tan-ma-ling of Chan Ju-Kua 15 and the Tambralinga of the Jaiya inscription. There are two localities in Pahang which are suggestive of the name given by the Chinese chronicler: the river Tembeling which, the discovery of numerous Neolithic and early iron-age implements there indicates, was at one time a thickly populated district, and Tanjung Tembeling the northern headland of Kuantan river. Was there a connection between these places and Logor?
The history of the Ming Dynasty states that the Pahang ruler who sent envoys to China in 1378 was called Maharaja, the same style as that affected by the King of Logor. When the Malacca forces conquered Pahang about 1454, according to the Malay Annals, (16) they found there a “Siamese” prince with the title Maharaja Dewa Sura, king oi Logor (who bore the same title as that of the prince who ruled in Pahang about 1454), on the instruction of the king of Siam invaded Pahang.，following the route Tembeling.
It is not unlikely that this invasion state was in reassertion of a pre-Thai Suzerainty , that is to Ligor, the Tan-ma-ling of the Chinese and the Tambralinga of the Jaiya inscription, that we must look at least during one period, for the origin of the pre-Malaccan rulers of Pahang., and that it was the men of Ligor who give the name of their country Tan-Ma-ling to the river Tembeling, (18)，a highway of communication between Pahang and the north, and to Tanjung Tembeling at Kuantan, the only safe anchorage for their fleet on the coast during the season of the north-east monsoon (19), and the port of access to the rich tin mines of Sungai Lembing. To Ligor, a state powerful enough to invade Ceylon twice during 13th cebtury , the conquest of Pahang must present no great difficulty.
Feb 21
OVEPI
At that time the ruler of Pam governed Syncapura : and the monarch who resided in Pathane, the metropolis of the Malayos, was tributary to the empire of Syam, for right clown to the present day the Malayos regard the latter as their master: while the head of the principal empire and administration was the Emperor of Attay .... "
He adds : ·' Permicuri,2 by birth a Jao of Palimban in Samatta or the Golden Chersonese allied himself in marriage with the lords and monarchs of Patane and Pam who belonged to the family of the Malaios .... " 3
[Pg 18]
This first Malaccan potentate chose Malacca as his headquarters about the end of the 14th century. cl'Eredia relates that:
" Permicuri selected this spot in the interests of his own safety, for he stood in fear of the ruler of Pam, over-lord of the countries of Ujontana, who was making warlike preparations to capture him, in consequence of the treachery which Permicuri had perpetrated in Sincapura, when he assassinated the ' Xabandar ' who was telated to the lord of Pam, despite the kindness which the ' Xabandar' had shown at his house in Syncapura, when Permicuri took refuge there in his flight from his father-in-law the Emperor of Java Major .... " 4
In the same chapter d'Ereclia calls Permicuri the " flrst king of the Malayos." According to d'Albuquerque's "Commen- taries," it was the ruler of Palani of whom Permicuri stood in fear, and the murdered chief's name was Tamagi.
d'Eredia (12) states that the religion of Islam was in introduced into Patani and Pahang before it was accepted by "Permicuri at Malacca in the year 1411." That statement is certainly true of Trengganu (which at that time appears to have formed a province of Patani), and is probably true of Pahang, though we have no other evidence to show that Islam was practised in the country before 1454.
Mahayana Buddhism, on which were superimposed Tantric orgies involving human sacrifice, had reached the Malay Peninsula about the 8th century. Its influence in Pahang, I though it waned with the introduction of Islam as the State religion about 1454, may be traced up to the beginning of the 17th century.
In the 12th century the kingdom of San Fo-ts'i began to decline, and by the 14th century, in the south, the east-Java state of Majapahit had become predominant, while, in the north, by 1292, the Siamese (Thai) kingdom, with its capital at Sukhodaya, had emerged.
8. d'Eredia's "Description of Malacca," translation by J.V. Mills, loc. cit., p. 3
9. An incorrect rendering of Parameswara.
10. aop. cit., p. 57.
11. op. cit., p. 16.
12. op. cit., p. 49.
13. JRAS (Journal Malayan Branch [Vol. XIV, Part II, History of Pahang. 9 ~
A vassal of San Fo-ts'i, according to Chau Ju-Kua, was Tan-ma-ling. Gerini (13) identified this country with Kuantan, a district of Pahang, on the ground that the north promontory of the Kuantan river was called Tanjong Tembiting, '' Cape Ternbeling.''
Feb 22
OVEPI
The Hsing-ch'a Sheng-lan, written in 1486 by Fei Hsin, a Chinese Moslem and an Arabic scholar, gives the following interesting account of Pahang and its people :
" This country is situated at the west of Siam ; it is surrounded by rocky ridges of mountains, which, seen from a distance, have the appearance of a table-land. The ground is fertile, and they have abundance of rice. The weather is often very warm.
"Their customs cannot be much praised; they make human images of fragrant wood, and kill people in order to make a sacrifice of the blood, when they pray for luck or try to ward off evil.
" Men and women have their hair in a knot, and are clad with a single piece of cloth. Girls of rich families wear four or five golden circles on their foreheads, and the daughters of the common people use strings of coloured glass beads instead.
" They boil salt out of sea-water, and make wine by fermenting rice-gruel. " Products of the country are lignum-aloes, camphor, tin and a kind of wood used in dyeing. Articles of import are gold, silver, coloured silks, Java-cloth, copper and iron- ware, gongs, boards, etc."
[pg. 18] According to d' Eredia, Pahang was the second Malay kingdom in the Peninsula, in succession to Patani, and flourished before the founding of Malacca ; the ruler of Pahang in the latter part of the fourteenth century, a relative (by marriage) of Parameswara, first ruler of Malacca, was Lord of Ujong Tanah (the southerly part of the peninsula including Singapore).
d'Eredia 2 records that .: " Pan was the second seat of the Empire of the Malaios ; its site lies on the eastern coast of the Peninsula in three degrees of North latitude; the port is just as much frequented by merchants, because of the gold from its auriferous mines : it contains the best and largest gold-mines in the whole Peninsula : it was from here, one presumes, that there came the gold which formed the subject of the ancient trade with Alexandria .... "
The same chronicler writes : （8） " It is to be noted that the eastern coast of Ujontana was peopled and frequented before the other 01: western coast : thus the histories relate that Malayos, was inhabited Pattane and Pam before the foundation of Malacca. "
Feb 23
OVEPI
Tajau of the Chinese chronicler may be Tanjong, and the reference may be to the northern head-land of the estuary of the river Pahang which was known to sea-farers as TanJong Pahang, " Cape Pahang."
Pa-la-mi-so-la-ta-lo-si-ni was almost certainIy the Chinese rendering of Parameswara Telok1 Chini, " the prince of Chini Haven." Chini, which, in Siamese, means gibbon, gives its name to a mountain, a lake, a stream and a village situated about forty miles from the mouth of the river Pahang. There pre-Malaccan remains have been found. （3） In the same locality is Luit, with a village Singgora called after the capital of Patani, where, too, there are traces of pre-Malaccan habitation.3 Except on the banks of the river, Chini is still jungle-clad, and little investigation has yet been done. For the Malays, Lake Chini has associations with the past : in their eyes the lake and its adjoining mountain are sacred, and they credit the place with the possession of a white crocodile styled Seri Pahang: "the glory of Pahang." It is possible that the lake did not always exist in its present form and that it covers the site of an ancient town. Only when the jungle gives up its secrets will the truth be known.
[pg 17] Assuming the correctness of these identifications, we then have, in 1378 A.D., a king at Tanjong Pahang known by the designation of Maharaja, and, in 14ll A.D., at Chini, a ruler with the style of Parameswara4, a title also used by the founder of Malacca. Did these two kingships exist contemporaneously or do both titles refer to the same undivided line of rulers with merely a change o[ residence, or is it to be supposed that between 1378 and 14ll the king at Tanjong Pahang was displaced by the Chini potentate? These are questions which cannot, at present, be answered.
We are told by d'Eredia that the kings of Pahang ruled only the coastal region. We know that the ruler of Pahang, at the date of its conquest by the Malacca Malays about 1454, bore the title of Maharaja. There is reason to believe that, at least as far as the people were concerned, apart from their rulers, the region of Kampong Melayu near Chini was at one time the boundary between the Malays and another race.1
2 Menangkabau: telok, a bay, or a bend in the river, commonly used in the expression telok rantau
"the bends and the reaches " of a river.
3 J. M. B. R. A. S., Vol. VI, Pt. IV, 1928, p. 79.
4 Journal, F.M.S. Museums, Vol. IX, Pt. 2, 1920, p. 152.
5 Dr. P. V. van Stein Callenfels points out that the term Parameswara seems to have been, in mediaeval times, in Majapahit and Bali the special title of the non-royal husband of a ruling princess, and that the word where it occurs in old inscriptions, designates the consort of a queen.
7 J. M. B. R. A. S., Vol. VI, Pt. IV, 1928, p. 81. 1 " Report on the Golden Chersonese," translation by J. V. Mills (J. M. B. R. A. S., Vol. VIII, P t. I, p. 233).
Feb 24
OVEPI
A History of Pahang
CHAPTER II.THE PRE-MALACCAN PEOPLE.
In the seventh century A.D. a kingdom called by Chinese chroniclers San Fo-ts'i which has been identified by Dr. Coedes with the Malay Seri-Vijaya with a capital, at one period, situated in Palembang, became predominant in the Malay Archipelago and the Peninsula. This empire has been thought to be the contem- porary Zabug or Zabag of Arab geographers. In 1225 A.D. the Chinese writer Chau Ju-Kua, apparently describing conditions in the preceding century, records that Pong-fong (Pahang) was one of the dependencies of San Fo-ts'i. Another vassal state of San Fo-ts'i was Tan-ma-ling, to which place we shall return presently. The Tao i chik lio written by Wang Ta-Yuan in 1349 makes mention of P'eng K'eng (Pahang) and Pa-tu-ma (?Pulau Tioman) among other regions.
According to the Nagarakrtagama, composed in 1365, Pahang, Ujong Medini (Johore), Muar, Langkasuka, Kelantan, Trengganu, Paka and Dungun, Tumasik (Singapore), Sang Yang Ujong (Sungai Ujong), Kelang and Kedah were tributary states of Majapahit. To this list of the Javanese empire's dependencies the " Chronicles of Pasai " add various islands off the east coast of the Peninsula including Pulau Tioman, Pulau Tinggi, Pulau Pemanggil and Pulau Laut.
The History of the Ming Dynasty (1368-1643)1 presents a picture of Pahang in the fourteenth and fifteenth centuries: " Pahang is situated at the west of Siam. In the year 1378 the king, Maharaja Tajau, sent envoys with a letter on a gold leaf, and bringing as tribute six foreign slaves, and products of the country. They were received according to the established rules. "
[Pg.16] In the year 1411 the king, Pa-la-mi-so-la-ta-lo-si-ni sent envoys carrying tribute. In 1412 Cheng Ho went as an envoy to their country, and in the year 1414 they sent tribute a gain.
"In the year 14.16 they sent tribute together with Kalikut and Java, and Cheng Ho was again ordered to go there.
" The soil of this country is fertile; the climate is always warm, and rice is abundant there; they make salt by boiling sea water, and wine by fermenting the sap of the coconut tree.
" The higher and lower classes are on a very intimate footing, and there are no thieves ; they are very superstitious regarding demons and spirits, making their images of fra- grant wood, and sacrificing men. to them, m order to avert calamities or to pray for happiness. "
Amongst the articles which they brought as tribute were elephant-teeth, camphor baros, olibanum, lignum aloes, sandal wood, pepper, sapan-wood, and such more .... "
（1）Book 325, quoted in " Notes on the Malay Archipelago " by W. P. Groeneveldt: Miscellaneous Papers relating to Indo-China, 2nd Series, Vol. I, London, 1887, p. 256. 1936) Royal Asiatic Society.
Mar 21
OVEPI
藝術鄉建——焦點：各地藝術鄉建共同面臨的問題首先依然是在地和主體性問題。藝術鄉建有四個主要的推動力：當代藝術內部的觀念性轉向、政府政策導向、創意經濟崛起和逆城市化潮流。藝術鄉建開始變成背負過強道德性與倫理感的一種身份壓力。藝術從業者開始和鄉村一起進入生產-消費的交換流通體系裡，以求達到鄉建目標。把藝術鄉建放置在「建設」的知識經驗中，會弱化藝術鄉建在替代性、可能性、先鋒性上的特質。空間改造主打的藝術鄉建，應落腳於重構「傳統」、「遺產」相關的價值話語。「文藝鄉建」導向的仍然是一種基於空間交錯的休閒經濟。弱視角與微觀視角，是近年來采納人類學方法的藝術實踐的一個共性。如何處理與當地人的關係（社會關係、知識產權、情感聯系等）等倫理問題，人類學更應有所貢獻。「藝術鄉建」在觸動和改變有關鄉村的話語體系和城鄉文化關係上，已經成效顯著。但在新形態的主體性養成方面，仍然需要一個更長的時間坐標才能有所論斷。
體驗脈絡：藝術鄉建之所以與一般建設工程不同，恰恰在於其「藝術」的面向，這個藝術面向不只是呈現為「作品」，或簡化為「美化」、「裝飾」、「藝術節」，而是更具有生命感的、嵌入當地生活與社會關係脈絡中的體驗方式。
藝術效用空間：如果希望藝術鄉建作為中國農村社會發展與轉型的唯一出路，那麼不僅藝術鄉建難以勝任，任何一種單方面建設都難以勝任。藝術及藝術家有其擅長的方面，例如借由一種多感官、超語言、超文本的總體感知方式體悟世界，但這並不意味著它可以替代諸如政策、行政、基建等職能在鄉村建設方面的作用。從另一方面說，鑑於「藝術鄉建」多討論建設而非藝術，或許藝術鄉建的作用不是被誇大，而是真正能夠發揮「藝術」效用的部分還有相當大的空間值得探索。
Related:
設計故事館
愛墾慕課·研究篇
文化特區運動
鄉韻
PGC
世界文化遺產
(李耕 馮莎 張暉：中國藝術人類學前沿話題三人談：藝術參與鄉村建設的人類學前沿觀察; 原文載於《民族藝術》2018年第3期，請以紙質版為准。)
Apr 19
OVEPI
山莊的文化隱喻—中國農村的近代化是痛苦的，這無不與鄉村對現代文明的盲目不自覺反抗有莫大的關係，這種痛苦雖然沒有像英國圈地運動那樣悲惨，但鄉村經濟結構與城市的錯位必然決定了其要與近代化發生磨擦，鄉村的近代化在痛苦的蛻變中一步步緩解過來。這一方面縮小了城鄉之間的文化審美趣味和社會經濟的訴求結構，加快了鄉村城鎮化進程，使鄉村以追慕城市為要。
在這種急進中，反復的拆建透射出對城市文化的無奈盲從，這使得鄉村簡單習得城市中的垃圾文化——照抄了表面；另一方面這種近代化又擴大了城鄉在經濟上的差距和鄉村自身在文化傳統上的裂痕。造成了城鄉之間認知心理及文化上的隔膜。在這兩種變化之下，人被緊緊裹進現代化的進程中，變得無所適從。
同時城市人和鄉下人變得更加貌合神離。與原有的鄉村模式背道而馳，通過不得不尋找土地以外的生存模式，表現出一部分鄉村人與城市的接近，而另一部分人與城市的抵觸、抵觸的多為老年人，而認同和追逐的多為年輕一代鄉村人。
鄉村農家樂中的高朋滿座、垂釣閒逸不是山莊中的情形，是山寨化的山莊，就像許多地方爭相投資幾十個億打造古城一樣，其缺失了文化的隱秘內核，剩下的只是商業的吊詭而已。山莊的隱在意義在於顯露出了現代知識分子避退現代性的匆忙慌亂與手足無措。山莊表明了從原來族譜中衍生出來的新勢力的擴張，表明了從川地到山地的拓荒精神。
「坐山莊並不意味著落魄或沒落，反而恰恰是一個鄉村家族興旺發達的標志，也就是說，當一個家族的土地廣闊到耕種時的路程一天之內難以返回時，家族的當家人自然就會考慮選擇一個恰當的地方，圍成一個院落，建起幾座房子，派一個放心的子侄帶一幫人去住一段時間耕種那片偏遠的土地。……於是，院落邊一個個衍生，久而久之，就會形成一個村落。這就是山莊了。」
很顯然，這些坐了山莊的人就會永遠變成山裡人。山莊成了遠離喧囂老莊的清幽之地，但山莊仍在拱衛著老莊。山莊的迷人之處不單在於具有田園的風光與情致，而是體現了游走者的精神路線圖。在《山莊記憶》中通過記憶的敘事展現了過去時態中山莊的歷史動態，在口傳的歷史中，山莊變得豐盈起來。那些淹沒並沉淀在歷史塵土中的人物和事件復活了出來，在敘述著山莊的歷史和命運。
近讀熊佩雲的《一個村莊裡的歷史》感觸頗多，一顆樹的歷史就是一部民族志，那一座山莊更何嘗不是一部社會史。在一個大歷史行將遠去的時代，我們痛切關注到過去曾經被忽視與刻意忽略的微小個體的歷史和命運，關注那些小人物和小事物。這種關注也並非以民俗學者的視角來看待，而是以更深的文化關懷來理解，在現代、後現代與傳統交混的時代中，行將消失的鄉土也跟隨長者的記憶轉瞬即逝。對於此我們不是要持守傳統的東西不放而是要反思現代性的某種盲目激進和偏頗，其要義在歷史的共生與維持歷史的厚度。
生活常常需要回味來調整自我的狀態，詩意的鄉土也是如此。鄉土不再有詩意，詩意早已在近代化的步伐聲中被傾軋得四散遁形，鄉土世界所刻意營造的鄉土詩意崩潰了。懷舊成了對逝去鄉土詩意的追思，而還鄉就是對鄉土詩意某種更深程度的復古。而山莊的文化隱喻在於提供了我們還鄉的可能性。鄉村在現代性的機器轟鳴中面目全非乃至於消失。山莊及記憶中的山莊承載了知識分子自傳統以來士大夫的「江湖」隱逸情操。土堡在誓死捍衛了這一最後的家園，土炕退縮到現代性逼仄的角落，卻成為一劑治療失眠的良藥。
王小波說過：一個人只擁有此生此世是不夠的，他還應該擁有詩意的世界。詩意與我們何其重要。德國浪漫主義詩人荷爾德林曾吟唱到：「人充滿勞績，但還詩意地棲居在大地上。」他的聲音為什麼會使後來的人如此的著迷？作為一個「還鄉者」在斷裂了的鄉土詩意中，在城鄉的對立中重新尋找精神的家園。還鄉必然是心靈中的對已失鄉土詩意的再度體認，並非記憶中的囈語，重建鄉土精神家園使游走在詩意棲居大地上的「還鄉者」得到靈魂的休憩。
誠如柏夫在其小說《鄉韻》中所感嘆道的，「任何一個有過鄉村到城市經歷的人，再經歷一番情感的迷離之後，懷著對傳統鄉村的懷念，也懷著對城市文明的終極理解，他們遲早要打開精神和情感的通道，在城鄉的對視中，最終抵達一種相生、相連、相通、相融的和諧境界。」山莊的敘事承受還鄉者還鄉的話語架構，這根源於一種樸素的、彌足珍貴的人文精神，一種發自肺腑的悲憫情懷，鄉土散發出了憂傷而迷人的魔魅之美。（《社會學家茶座》第47輯）
作者簡介: 李安樂，1980年生，甘肅靜寧人，中學美術教師。中國藝術人類學學會會員、中華美學學會會員。曾獲中央美術學院青年藝術批評獎，有文章發表在《社會學家茶座》、《中國社會科學論叢》及《美術報》等。
（李安樂：山莊：追尋鄉土社會的潛在記憶——閱讀《山莊記憶》，見：中國藝術人類學學會2013-09-23）
Apr 29
OVEPI
鄉土社會與地域文化：由於特殊的地緣構築了作家心靈中的鄉土世界。鄉土做為在現代化進程中行將逝去的文化遺產，業已成為大多數作家回憶中的資源。對於鄉土的特性，費孝通在其早年的名著《鄉土中國》中這樣寫道：「歷世不移的結果，人不但在熟人中長大，而且還在熟悉的地方上長大，熟悉的地方可以包括極長時間的人和土的混合。祖先們在這地方混熟了，他們的經驗也必然就是子孫們所會得到的經驗。……他們個別的經驗，就等於世代的經驗。經驗無需不斷累積，只需老是保存。」 鄉土世界中的這種親密的、信任的依靠了地緣與血緣的社會結構是現代城市社會中所不具有的，這也是作家們所不斷表現的，因為他們是從鄉土移植到城市中的過去時態的農民，有著很深的鄉土情結。
在柏夫的作品中，我們直觀地閱讀出了淳樸的鄉土情感，其更深地把民俗與風土人情血肉交融在充滿大地氣息的文字之中，土炕、土窯、野電影、土堡、土話以及廟戲、鄉村棋壇等。在鄉土世界敘事裡，依然表達了鄉戀情結，這種表達可能更多緣於對自己由農民到城裡人身份的游離不定的把握，同時更缺乏城裡人強烈的自我認同感。
在西北干旱的靜寧，六盤山的余脈綿延至此。粗狂蒼茫的地理特征造就了其與之同構的地域性文化。這種獨特的地域文化暫時很難明晰地定義，但我們能夠深深地感受到在枯山禿嶺的地域文化絕對不會如三秦文化中的通俗演義那樣：八百裡秦川塵土飛揚，三千萬秦人齊吼秦腔，端一碗長面喜氣洋洋，沒有辣子嘟嘟囔囔。干旱少雨的內陸型氣候，加之受六盤山西麓小氣候的影響。或許，這一地域性文化特征和其他西北的地域文化別無二致，抑或更接近於西海固的文化，或者說西海固文化與之很像。
土性文化：記憶中的山莊
對柏夫作品中的文化意象，我更願意以土性文化的屬性來理解和闡發。早有學者在對浙東文化的闡釋中用到了「土性文化」與「水性文化」，其以「山」、「水」之多寡來概括。認為「水性」文化反映出溫柔、內斂的性格，反映在文風上則是秀美、飄逸、浪漫的主體風格。而「土性文化」則相反，其文化影響下的文風多具氣概、凝重、頑固、叛逆的性格，亦即魯迅所說的「山岳氣」，有了更多的深至與厚重。《山莊記憶》就很好得體現了這種風格。
在這裡要說的是，土性文化是對鄉土社會的非現代性的歸繹。以其泛「土」性而帶有強烈的地域文化色彩：土炕、土窯、土豆、土堡、土話、山花、泥濘等。土味也正是鄉野的魅力所在。在《土炕》中，作者體味到自然精神：「人本來就是自然之子，土炕盤在堅實的大地上，它雖然是炕，可依然是土；是房屋的組成部分，也是大地的人工延伸。人睡在這樣的土炕上，身體和心靈都會和地氣相通。睡在土炕上不只是簡單地睡覺，而是在夜深人靜的時候與大地進行溝通，那是一種來自四肢百骸及心靈深處的全身心的舒展和放松。」土，並非意味著俗氣，而是土氣，純真質樸的氣質。而土氣是土性文化的基本特性，在堅實的大地上，微涼也好，溫熱也好，人總要停佇腳步去體味大地的體溫和脈搏，領會古人所孜孜言說的天人合一的奧妙。
在美國學者約翰·吉利斯(John Gillis)的論述中將鄉土記憶與公共記憶對立起來，並指涉其作為被官方歷史的記憶所界定的民間基層記憶的特征：被認可和被製造。這些散發著土味的鄉野之物徑由記憶的被認可與製造，逐漸地廓清了更具豐富含義的山莊圖景，這也是作者所表述的重點。對於山莊，作者有其獨到的見識：「山莊並不是某一個具體的村莊，其地理位置也不一定非在山上。當然，山莊也不可能是聞名於世的避暑山莊，其來歷和功用與避暑山莊更是迥異其趣。山莊在更大程度上是相對於老莊而言的。」正是在這一意義上，山莊拉遠了與老莊的距離，不再簡單到只是一座山裡的村莊，而是投射到歷代的記憶中，描畫出族人拓展繁衍的社會景觀。（下續）
Apr 30