Comment

Comment by OVEPI on February 21, 2024 at 8:33am

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 13^th cebtury , the conquest of Pahang must present no great difficulty.

Comment by OVEPI on February 20, 2024 at 10:28am

With the subjugation of ligor by Sukhothai about 1280 the suzerainty over Pahang fell to the Thai in the 14^th 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 )

Comment by OVEPI on February 6, 2024 at 5:10am

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。

Comment by OVEPI on February 6, 2024 at 5:09am

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

Comment by OVEPI on January 29, 2024 at 3:20pm

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

Comment by OVEPI on January 29, 2024 at 2:35pm

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.

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 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?

Comment by OVEPI on January 25, 2024 at 11:03pm

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.

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.
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.

Comment by OVEPI on January 25, 2024 at 11:02pm

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.

Comment by OVEPI on January 24, 2024 at 9:18am

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

Comment by OVEPI on January 23, 2024 at 10:27am

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

• ‹ Previous
• 1
• 2
• 3
• Next ›
• Page