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Comment by OVEPI on March 9, 2024 at 10:13pm

此外，这批墓碑挖掘时，并非如一般墓碑直立摆放，均是刻面朝上平躺，并且如同走道般呈「L」字型的方式排列，横式两块、直式7块，相当令人不解。

据屋主所述，该地曾是英殖民时期以及日据时代的政府办事处，当地人也相信这很有可能是日本人所为，但实际情形如何？尚需等到更多资料方能解答。

古墓发掘现场（照片提供者：北根 笔者亲友，摄于2020.11.15）

图1.1:甲必丹黄学科之墓碑（照片提供者：北根 笔者亲友，摄于2020.11.14）

在这些古墓当中，首先最引人注目的是图1.1的甲必丹黄学科与夫人的合葬墓，即「清 考甲大学科黄公·妣孺人顺贵施氏 之墓」。墓石上所刻的「清」可意指为「大清子民」；「考」指男性，「妣」则指女性；「甲大」是「甲必丹大」的简称；「学科」为名，姓氏刻于名之后，为「黄」，故全名为：「黄学科」；而其夫人姓名为施顺贵。

笔者根据线上辞海的解释，古代称大夫的妻子、明、清时期七品官的母亲或妻子会封为「孺人」，而「孺人」也通用为妇人的尊称。

据《中国报》报导，列圣宫主席郑德隆指出，列圣宫里虽安置了甲必丹黄学科的神主牌，但其牌位乃后人聘请专人临摹复刻而成，并非原物。可惜的是，该神主牌除了姓名与职称之外，并未刻有年代以及祖籍资讯。

而此次出土的黄学科墓，上面刻有「清道光五年潮州府揭阳县梅岗都」。 因此出土墓碑解答了甲必丹黄学科的卒年与籍贯身份，他是潮州籍华人，且卒于西元1825年，距今195年。由此可知他是北根现有记录中，最早的甲必丹。而这块墓碑也是目前现有文献资料中，继瓜拉登嘉楼以外，大马东海岸最早的华人墓碑。

图1.2:甲必丹郑昌俊之墓碑（照片提供者：北根 笔者亲友，摄于2020.11.14）

接着是图1.2，甲必丹郑昌俊之墓碑。该墓碑上的铭刻为「考特授呷咇丹昌俊郑公·妣诰命京姨人玉玑戴氏·妣特授京姨人香舌林氏 墓」。与其合葬的大房为戴玉玑；二房为林香舌。

笔者查阅《马来西亚华人华文铭刻萃编》（傅吾康，陈铁凡，1985）：甲必丹终于1894，距今有126年。特授甲必丹为名誉甲必丹之意根据线上教育百科的解释，「诰命」指受过封号的妇女。

古时朝廷颁赐爵位的诏令，例如明制为一品至六品皆授以诰命，清制则为一品至五品授以诰命。目前笔者从新纪元大学学院白伟权博士的叙述中获知「姨人」亦是一种封号，而也有书写为「宜人」的其他例子。

目前所知，甲必丹黄学科与甲必丹郑昌俊的名字早已收录在《马来西亚华文铭刻萃编》（傅吾康，陈铁凡；1985：499～500页）之中。此次出土的石墓碑为甲必丹黄学科的资料补上了祖籍地，而甲必丹郑昌俊则是寻获其原墓碑。

图1.3:甲必丹林癞之墓碑（照片提供者：北根 笔者亲友，摄于2020.11.14）

最后一位甲必丹为图1.3的 「考吉昭甲必丹癞林公 墓」。 此墓主乃甲必丹林癞；卒于「同治丙寅年」，即西元1866年，距今154年。墓碑上刻着「日」的抬头以及「吉昭」尚未知其用意。另外，这位甲必丹尚未被记载于碑铭集与其他现有资料之中，可算是新出土的甲必丹，有关甲必丹林癞的事迹，则有待更多史料的出炉了。

祖籍地与墓主名并列的古墓

接下来要介绍的2块墓碑相当特殊，是采取祖籍地与墓主名字并列，据考这是潮州墓的特色之一。第一块是图2.1，曾镇贤夫妇的墓碑，铭刻着「考金砂寨镇贤曾公·妣东郊乡妙富谢氏 墓位·同治十三年甲戌二月 仙游」墓位。

我们所能解读到的资料为墓主卒于同治十三年甲戌，即西元年1874年。曾镇贤公来自潮州的金砂寨，其夫人谢妙富则来自东郊乡。（下續）

Comment by OVEPI on March 8, 2024 at 7:55am

图2.1:曾镇贤夫妇之墓碑（照片提供者：北根 笔者亲友，摄于2020.11.14）

第二块为图2.2的林期𪢲公之墓。铭刻资料为“寶隴期𪢲林公·大鑑賽珍陳氏·華美淑姬周氏·墓·清 光緒卅二年 丙午五月廿六日”。 我们从中能得知墓主林期𪢲来自潮州的宝陇（今潮安），卒于西元1906年；有两位夫人。大房为陈赛珍，二房周淑姬，至于他们名字前“大鑑”和“華美”的具体地点则不详。


圖2.2: 林期𪢲公之墓（照片提供者：北根 筆者親友，攝於2020.11.14）

無年份標示的古墓

再來這三塊石墓碑上的年份尚待確認。第一個銘刻資料為「清 考運德林公·妣御容莊氏·妣賽娥陳氏 墓」（圖3.1）。能解讀到的資料是墓主名為林運德，有兩位夫人。大房名為莊御容；二房名為陳賽娥。

第二塊的銘刻資料為「清 永興鄭公·諱雞鄭公·諱桂鄭公 墓」（圖3.2）。我們雖不知曉年份，但該墓碑較為特別是三名男性的合葬墓，他們分別是：鄭永興、鄭雞、鄭桂。他們三者關係為何，尚無法知曉，但由於都同樣姓鄭，因此相信他們來自同一宗族。

最後一塊銘刻資料為「清 妣孺人曾母蜜娘林氏 墓」（圖3.3）。我們從中能得知墓主名為林蜜娘，是一名為人母的婦女，夫家姓曾；家中有子女。

再來這三塊石墓碑上的年份尚待確認。第一個銘刻資料為「清 考運德林公·妣御容莊氏·妣賽娥陳氏 墓」（圖3.1）。能解讀到的資料是墓主名為林運德，有兩位夫人。大房名為莊御容；二房名為陳賽娥。

第二塊的銘刻資料為「清 永興鄭公·諱雞鄭公·諱桂鄭公 墓」（圖3.2）。我們雖不知曉年份，但該墓碑較為特別是三名男性的合葬墓，他們分別是：鄭永興、鄭雞、鄭桂。他們三者關係為何，尚無法知曉，但由於都同樣姓鄭，因此相信他們來自同一宗族。


圖3.1:林運德夫婦之墓碑（照片提供者：北根 筆者親友，攝於2020.11.14）

圖3.2:鄭姓之墓碑（照片提供者：北根 筆者親友，攝於2020.11.14）

圖3.3:林氏之墓碑（照片提供者：北根 筆者親友，攝於2020.11.14）

Comment by OVEPI on March 8, 2024 at 7:54am

根據上述墓碑所得自資料做出小總結，從甲必丹黃學科來自潮州府、曾鎮賢公來自金砂寨以及林期𪢲來自寶隴的線索，結合《馬來西亞華文銘刻萃編》的文獻資料來看，早年北根的華人居民大部分的祖籍地都是潮州。

這些石墓碑大多是夫妻合葬墓，與一般論述的早年本地社會男多女少的情況有所不同，或許這群人有著一定的社會經濟地位。

值得一提的是，我們很難在一個小市鎮同時發現這麼多甲必丹的墓碑，且年份涵蓋蘇丹王權統治直到殖民時期。結合新出土的資料，以下是目前已知的北根甲必丹卒年排序：

黃學科：1825年終、林癩：1866年終、林子廉：1868年終、某甲必丹：1875年終、陳公：1882年終、鄭昌俊：1894年終。

綜上所述，雖然已有初步的資料，但仍有許多未解之謎等待挖掘。首先是有關這些石墓碑為什麼被這麼擺放、是否尚有其他還未被發掘的墓碑？而為什麼只有幾個墓主的神主牌位被特別安置在列聖宮？這幾位甲必丹後續的故事為何？都有待研究者繼續一探究竟。

即使人在遠方，依舊心系家鄉

我是北根華人，童年在北根長大；如今在台求學過程中，發現台灣人相當重視本土各個地方的歷史發展和研究，每一個縣市、城市甚至於地名都有許多研究探討的成果。

閱讀台灣在地研究的文章和介紹，讓我產生想要更了解自己生長地的念頭。故目前修研碩士欲探討有關家族的故事和歷史，並從年前開始著手於蒐集北根的歷史資料。所以這批石墓碑出土後，個人最大的感觸源於自身「近距離」接觸到歷史。

從前覺得歷史與生活的距離很遙遠；不曾想與之如此靠近。第一次覺察自己就生活在歷史之中，只不過因為我們習以為常而忽略了值得探索的蛛絲馬跡。我雖身在台灣，與北根相距2,957 公里；然而心裡始終牽掛家鄉的一切。

這些資料對於彭亨乃至馬來西亞華人發展的歷史都很重要，藉由這次的發現能讓我們對於自己的「根本」有更進一步的了解。

（馬蟻嘛嘛檔與新紀元大學學院「茶室開講」為墓碑發現舉辦了線上講座。筆者有幸和白偉權（新紀元大學學院東南亞學系助理教授）、莫家浩（香港中文大學歷史系博士候選人）對談，有興趣者可參看視頻。）

傅吾康，陳鐵凡，1985，《馬來西亞華文銘刻萃編》。吉隆坡：馬來亞大學出版部。

劉崇漢，1992，〈獨立前北根華人簡史〉，《彭亨華族史料匯編》。關丹：彭亨華團聯合會

W. Linehan .1936.A History Of Pahang. Journal of the Malayan Branch of the Royal Asiatic Society, Vol.14, No. 2 (125), pp. 1-257

Tunku Tan Ssi Dato' Shahriman bin Tunku Sulaiman . 2003.The Pahang Capital. Journal of the Malaysian Branch of the Royal Asiatic Society , Vol. 76, No.2 (285) (2003), pp. 87-92

電子報章：

10清代古墓彭出土·證明華裔先賢250年前落腳北根。（2020年11月16日）星洲日報

北根馬來高腳屋驚現清末墓碑。（2020年11月16日）中國報

Nisan China Kuno Di Laman Rumah.（2020/11/15）Sahih Jirat Dinasti Qing ditemukan di rumah bekas MB.（2020/11/18）My Metro

其他：Portal Rasmi Kerajaan Negeri Pahang Darul Makmur

（本文作者：黎羨，北根人，畢業於吉蘭丹中華獨立中學，現為台灣國立東華大學藝術創意產業學系碩士生。原題：發現北根清代古墓；原載：當今大馬 malaysiakini.com)

Comment by OVEPI on February 25, 2024 at 6:46am

Rekan Library— Muar design community

Rekan Library is a community library space that promotes collaboration and actively engages the community with reading, design and learning.

Working with the Chinese community of Muar, Johor, their network includes a collective publication Muar River Times; creating a co-working subscription model with an event venue Ngam Hall; collaborating with children’s toy designers; and many more. The design and art community in Muar works on cultivating a small town spirit, creating publica tions, podcasts, hosting musical performances and creating community spaces collectively.

Key Takeaways:

Understand your network, your niche 

To think beyond the national boundaries and to find ties internationally as a way to grow one’s practice.

Creative Hubs can find networks based on medium, types of practice, or type of spaces.

SeaShorts Film Festival connects with other filmmakers, international arts and cultural organisations and encourages exchange programmes.

Participating in or housing such programmes can enable Hubs to grow a network specifically tied to the arts.

8·Conclusion

For this report, tracing artist-collectives in the past to the present was an incredibly enriching exercise and at the same time, demanding. Creative Hubs emerged not only as models for adoption, but also are a constant source of curiosity for us to deepen our imagination and experimentation.

8.1 Knowledge Gaps

As per any report, there will be limitations in either the process, method, or time range of data collection. Although the ‘Hubs For Good’ research project identified over 100 hubs, there is a lack of representation of different language groups. The workshops of the programme are organised in English. Groups using other languages may not feel inclined to participate. There is also a tendency for the professional and entrepreneurial programmes to be expressed in English and situated in urban areas. As the teams worked in English for this project, many other hubs were not identified and located due to language barriers.

Other groups may also be situated in suburban or rural communities, and due to the restricted movement due to the COVID-19 pandemic the research team were unable to travel to discover the outlying art and cultural collective work con ducted in smaller communities. Grassroots and community associations that may not be recognised as being artistic or cultural also often carry out art and cultural work. These associations often engage with local neighbour hoods and are aligned with cultural festivals such as Mid-Autumn or Thaipusam to name a few. Such groups are entrepreneurial by nature, trading cultural and traditional craft, products, and artwork during the cultural events. Modes of production often run alongside their community building work. Would these be also considered Creative Hubs? This is a question perhaps to be considered in future research.

Comment by OVEPI on February 20, 2024 at 8:31am

(pg. 39) Another gap is the underground movement within the art and cultural ecology of Malaysia. There are collectives engaging in work situated in the legal/grey areas of the law. To name them openly in a report may have a negative impact on such collectives. Lastly, some collectives may also be involved in experimental work that is activated and disappears quickly. Such work may also be considered failures by the conventional parameters of sustainability, but their transient nature should not stop them from being considered as a Creative Hub.

8.2 Malaysian Art and Cultural Ecology—What Next?

This report aims to build awareness of the history of art and cultural collectives, to consider the policies that affect the art and cultural ecology, and to draw out certain patterns and characteris tics of current Creative Hubs in Malaysia. So, what should we be doing next? The work of Creative Hubs is often social, organising creative work for, or with, a specific community.

The work can be conducted through the many examples in 5.2 Alternative Arts Education, fulfilling a gap and need beyond informal education systems. Support and awareness are needed to ensure possible education routes can be encouraged. All hubs will have cultural impact by the creative processes of art and cultural work.

The art forms emerging from hubs add to the cultural landscape of Malaysia, through the different categories of Creative Hubs described in section 2.3. These categories can infer how hubs can have multiple categories of cultural impact, often intertwining more than one medium of art and cultural work.

Another cultural impact is the notion of networking and archiving the work. Creative hubs should offer open access to knowledge. To learn about our own art and cultural history is imperative to ensure the growth and continuation of our art and cultural ecology. To work on digitally archiving and creating repositories either in the form of reports, or catalogues can help newcomers under stand Creative Hubs, and by extension the art and cultural ecology better.

One of the biggest cultural impacts is connecting to online and offline networks. Hubs are a resource for gathering. These gatherings can be centred around openings, festivals, events, or even just reflective moments of sharing. To embrace the growth and continual nourishment of networks is imperative to ensure a sustained cultural impact. Hubs should continue to have a bottom-up network of sharing—from knowledge to space to resources.

Creative Hubs create communities for those participating in art and cultural work. They grow camaraderie through open dialogue, conversation, and discussions. The action of creating safe spaces enables solidarity amongst art and cultural workers while allowing them to investigate their own art and cultural work. Economic impact is less immediate. Creative Hubs often coordinate sharing resources to support the ecology, creating an open-ended input and output cycle. The support can range from sharing subscription accounts for streaming and online conferences to creating community-led spaces for all to contribute to.

Comment by OVEPI on February 19, 2024 at 6:20pm

(Con't from above) Economic impact can also be found in the use of branding exercises. It is the methodology of inviting potential patrons, participants, and artists to connect to a hub’s work. Creative Hubs that do design exercises to write, document and archive their work online and offline provide clarity for the public to understand their initiatives. To give thought to how art and cultural work is advertised, audiences can easily access, understand, and par ticipate in the art and cultural work through clear and careful design on social media campaigns.

Creative Hubs such as Cult Creative are founded on the belief that such effort and work is important to ensure the longevity of a creative practice. The report suggests alternative methods of interpreting impact—through the work in com munities and collectivism and building networks and audiences. These two impact areas integrate social, cultural, and economic aspects by creating spaces of care, experimentation, continual learning and sharing. This we believe comes from a shared network that continues to develop the community via an entangled art and cultural ecology. The stories explore ideas of sustainable impact, where the changes will permeate long after the project is complete.


8.3 Creative Hubs—A Proposition for Collectivism

Creative Hubs create sustainable forms of impact by encouraging collectivism and community wellbeing. Collectivism is qualitative, explored through short accounts in Part III of the report. Research can document how many participants were part of a programme, or how many working hours each workshop ran for, but what is fascinating about art and cultural work are the specific details of creating programmes, design, and collaboration. Creative Hubs put energy into creating programming for communities to gather, to share and experience art forms collectively.

Such experiences are immeasurable, often advocating for social development of healthy and liveable communities. 46 46 HAUS KCH 47 Urbanscapes Other than categorising and organising the Creative Hubs into categories, this report also adds complexity by acknowledging Creative Hubs using stories of Communities and Collectivism (online and physical), Building Networks, and striving for Alternative Arts Education. This consideration of collectivism can shift away from the neoliberal agenda to a more communal ideology—a sharing economy. In a time where mutual aid and care is important, Creative Hubs and collectives in Malaysia have activated the role of organising around community issues, informal arts education, giving voice to communities.

An interdisciplinary lens of the arts and human ities, sociology or ethnographic lens should be adopted when researching further about Creative Hubs in the context of Malaysia. Different methods of collaboration can also be explored in extended research of Creative Hubs. This report is only the beginning, to draw attention to the art and cultural work of a lively ecology. All Creative Hubs are inherently cultural, advo cating various forms of art and cultural work to the public. It is my hope this report gives a snapshot during a difficult time of our history, the COVID-19 pandemic. (pg 73)

(British Council, 2017, UNDERSTANDING CREATIVE HUBS IN MALAYSIA -- Collectives, Entanglements & Ecologies;  AUTHOR: Clarissa Lim Kye Lee, Roslina Ismail ,  Poon Chiew Hwa , Florence Lambert, EDITOR: June Tan; RESEARCH PROJECT LEADER: Roslina Ismail, Florence Lambert)

Comment by OVEPI on February 15, 2024 at 2:09pm

Training

Many creative hubs have grown out of organic beginnings, and so sometimes the founders (often doubling as hub managers) may not be trained in management skills or financial planning.

As we’ve seen, the creative hubs that have a clear business model are more confident about their future.

Providing workshops on arts management would help be an intermediary step to help hub managers manage finances and future plans, although ideally the role of running the hub could be divided between full-time employees.

Connecting & Networking

While many creative hubs are clustered in Kuala Lumpur, those outside the capital are also having a huge impact in their communities – sometimes even more so, as a result of being the first of their kind.

While some of these hubs are already connected through informal friendships and partnerships, it could be worth having a networking platform that allows for the exchange of skills and approaches: in particular, connecting hubs in East Malaysia to West Malaysia and vice versa.

Similarly, if hub managers can be supported to make contacts and network on a regional and international level, the exchange of knowledge and skills will offer new ideas and approaches to running a hub.

Creative hubs need advocates beyond their own members. A more formalised network of creative hubs might help to give a collective voice in situations where one creative hub needs legal or public support.

On an international level, several established creative hub managers are already being invited to speak at international conferences. Often, this is sponsored by an international partner. It would be useful if emerging
hub managers are also given an opportunity to participate as audience members, perhaps sponsored by a Malaysian travel grant

Making Space

Malaysia’s creative hubs are diverse in their approaches and in their needs. But many of them share the common thread of struggling for financing, as grassroots groups which were started by individuals.

While creative hubs often run independently through the passion and dedication of their founders, they have an impact that is far beyond their membership:

they create new economic opportunities, they nurture and educate emerging creatives, and they engage the public through placemaking, public art and free resources. However, all these services (and more) are often threatened by the risk of a creative hub shutting down when the money runs dry or the founders move on.

While the government is starting to recognise the value of creative hubs in the context of the creative industries, this focus on economic value neglects their many other contributions.

Malaysia’s creative hubs need long-term support as well as recognition for their efforts. Their impact may often be intangible, but it is invaluable. International partners have provided both funding and platforms for
creative hubs for years. The next question is whether more Malaysian partners in the government, non government and private spheres can do the same.

Related:

沙巴海丝馆
韵文化：我求
Creative and Cultural Districts in Thailand

(Source: APRIL 2017, WWW.BRITISHCOUNCIL.MY)

Comment by OVEPI on February 14, 2024 at 5:58pm

Mindsets

A more deep-seated challenge mentioned by some of the creative hubs is that the Malaysian public at large does not care about their work.

“I think we’re still a long way from building an audience for the arts in Malaysia. I don’t think anyone in Malaysia can say hey, we’ve got a brilliant, ripe fruit audience,” says Joe Sidek. “It is shocking. Students who study arts don’t go and see exhibitions. Dance students don’t go and see dance programmes. Isn’t that shocking? That is Malaysia.”

Although several creative hubs are working to make the arts more accessible, they sometimes feel as though they are shouting into empty rooms. This then compounds their issues of sponsorship and sustainability.

“It’s not a simple thing that can be solved overnight, because it requires the participation of all different levels of people and agencies” says Ian Chow of The Actors Studio Seni Teater Rakyat, who adds that the education system in Malaysia is “very geared toward the science stream”. In Malaysian schools, students must select either the science stream or arts stream at age 15. Those with the better grades are often encouraged to go to the science stream.18

This mindset is not just apparent in audiences, but also in the higher echelons. While there are forms of federal and local government support for some creative hubs, these tend to be selective and sporadic. Creative hubs are rarely assured of receiving funding to cover a block of a few years.

Returning to the example of the London Book Fair mentioned earlier by the Malaysian Writers Society, it’s apparent that many creative hubs are taking steps where the government has not ventured. Malaysian publishers and booksellers resorted to bundling together their own money in order to attend the London Book Fair, in contrast to other nations which are supported by government funds to attend.

In recent years, there have been some new opportunities for funding from the federal government. MyCreativeVentures, for example, gives low-interest loans to businesses with a creative element, but these loans still need to be repaid. Creative hubs with an urban transformation angle have also been supported by Think City, as shown earlier, because of the incentives brought to cities.

Yet, government initiatives often move much slower than grassroots organisations. Johan Ropi of Kilang Bateri gives an example:

“Now Iskandar Malaysia is working on something called Youth Hub, which we were involved in in the early days, to come up with a concept paper.

The thing about government initiatives is that it takes some time. So because we as a movement we have the buy-in from our stakeholders, so they keep on pressuring us, ‘So where’s the project?’

So we couldn’t tahan [stand it] already, so we come up with our own thing. That hub is still under development, and is expected to be up by next year, if I’m not mistaken.”

At the same time, some creative hubs will always be deemed high risk and so will not receive funds. These are the hubs that include activism and socio-political engagement in their work.

Censorship in Malaysia is an issue across the arts and media, and it has a direct impact on creative hubs.

Comment by OVEPI on February 14, 2024 at 5:56pm

Sustainability Issues of money, management and mindsets have a cumulative impact that threatens the sustainability of creative hubs. Lisa Case, festival manager of George Town Festival describes the scenario that faces the team “In Singapore they definitely plan two years ahead because they have the money, they know the money is coming or the money is already there. Whereas we have to work one step at a time, and that has actually been a bit of a problem for us. We want to confirm, we want to go to sponsors with programmes but we cannot yet because we don’t have the money or the permit so we’re working from year to year to year.”– Lisa Case

Many creative hubs are in a position where they must simply try to survive. Without a regular patron or the assurance of long-term funding, they simply cannot see far enough in the future to make plans. Without these plans, they cannot seek further support, and without this support, they cannot continue to do their work effectively.

While most of the creative hubs we spoke to were confident that they would still be here in one year’s time, they were less certain about being here in five years’ time. “We honestly don’t know how long we can carry on,” say Gina and Tina of Malaysian Writers Society.

Even Johan, who rated Kilang Bateri’s financial health as very good, spoke about the hub’s lifespan with pragmatism:

“As an architect and as someone who is involved in retail, a normal mall’s lifespan is about eight years. I’m not sure where we will be after eight years, but we have exit strategies. Looking at the growth rate that is three times faster, our lifespan may be three times shorter.” Of course, even if hubs are not sustained, their contribution still makes an impact in the long term.

To use an example of a past creative hub, many in the Kuala Lumpur arts scene still talk about the Annexe Gallery fondly. Part of Central Market, the Annexe Gallery was a place for creative people to meet, hang out and exchange ideas at talks, music events and more. In talking about her mission with Kampung Attap, Liza Ho explicitly mentioned Annexe Gallery as a point of reference.

According to Pang Khee Teik, formerly Programme Director of the Annexe Gallery, the Annexe could not be sustained because the developer of the property expected the space to be able to generate profit. Given that the space could be rented out at a higher value by sacrificing the arts community, something had to give.

“Some things are better not sustained. You do as much as you can. Then it evolves into ideas for other people to create other things,” says Pang.Pang’s insight touches on one aspect of the creative scene in Malaysia: even as some spaces and hubs have died out, others have sprung up.

Because so many individuals have connected through their artistic interests, they are also able to take forward new challenges, crossing over to other hubs or starting something new. In other words, those underground roots continue to spread, and may pop up with shoots elsewhere.

Comment by OVEPI on February 14, 2024 at 5:55pm

However, this resilience does not mean that the uncertain situation facing many creative hubs should be accepted. Indeed, given that so many individuals have invested their time, energy and money into these hubs – often providing public services for free – we need to ask how they can be supported to continue.

In every creative discipline, people’s talents develop over time. When hubs can sustain themselves not just for years but for decades, they can support and push these talents more fully. They will not only give young creatives a launch platform, but continue to work with them throughout an entire career.

Creative hubs also accrue more credibility over time, allowing them to raise their national and international profile. Their cumulative experience enables them to play a bigger cultural role and even advise on policy.

Since many of them are embedded in communities, they also have a wealth of local knowledge of and for different groups in society.

We can look to the experimental theatre group Five Arts Centre as an example of a creative hub which has managed to survive and thrive. Five Arts Centre celebrated its 30th anniversary in 2015. Although its work would not be considered mainstream, it now holds an important role in the arts scene.

For 11 years, Five Arts Centre has been awarding grants to artists from different fields through a sponsorship partnership with the broadcaster ASTRO. It has also been invited to festivals around the world to tour with its performances.

The Japan Art Association awarded Five Arts Centre the prestigious Praemium Imperiale Grant for Young Artists in 2016.19 But more importantly still, Five Arts Centre has helped to sustain the work of a group of writers, directors, producers and performers for over three decades.

Yeoh of Lostgens puts it like this: “It’s important to continue. In Malaysia, you have to continue. If you can continue to do it for several years, you’ll have something to show for it. We [Malaysians] have a problem with stopping and starting.”

Based on the challenges outlined in the previous section, here are some suggestions for how creative hubs can be supported:

Funding

While many hubs have benefited from short term funding or project-based funding, more long-term sponsorship from both government bodies and private companies would allow creative hubs to plan ahead. Currently, many creative hubs have a “survival” mentality which means they are only able to plan for the short-term.

Long-term funding would also allow creative hubs to hire full-time employees. This would lessen the burden on a small group of people to manage the hub in their spare time, which in turn would make the creative hubs less dependent on a few individuals. As a result, creative hubs would be more sustainable.

However, funding also needs to be given with consideration. Many creative hubs want to maintain independence in their programming and curation, and their managers are wary of funding that comes with conditions or restrictions.

At the same time, some sponsors have been fearful of the creative output of hubs they support. A long-term partnership would help both parties to understand each other’s needs, hopefully increasing trust between the two parties over the years. (Con’t below)

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