《我的加雅街杜順公主》生活&旅遊札記

《我的加雅街杜順公主》生活&旅遊札記

日期:2014年7月,這一年,是馬來西亞旅遊年;馬來西亞成立第51年;馬來西亞與中國建交40年,中國答應借兩隻熊貓給馬來西亞,不過比原定日期延後;隨著中國和越南因為南海領土糾紛而在南中國海互射水炮,越南民眾開始鬧排華,來自台灣、馬來西亞、新加坡等地的華商工廠、公司,都被當著是中資企業掠奪。殃及日韓企業。

地點:馬來西亞沙巴。

環境:馬航MH370失踪的謎底仍未解開,菲律賓南部海盜入侵沙巴東海岸虜人勒索贖金的事件仍時有所聞;實際上,還有兩位中國人質,一位遊客,一位華資在沙公司的經理,仍在海盜手中沒下文。中國集體遊客數目大減,不過,許多自由客還是抵抗不住沙巴的大藍天、大藍海、大綠山、大綠地,湧現在西海岸的亞庇。市中心的加雅街仍然燃燒著他們的熱情。

故事,當然也有例外的,有位北京男是來療傷的,心傷;還好,他在加雅街痊癒了,而且變成了另一個人;因為他遇上了杜順公主。

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Comment by 馬來西亞微電影實驗室 Micro Movie Lab on September 13, 2022 at 3:01pm

Budget 2022: RM188mil boost for creative industry

PETALING JAYA: RM188mil has been allocated for the creative industry under Budget 2022.

Finance Minister Tengku Datuk Seri Zafrul Tengku Abdul Aziz said agencies such as the National Film Development Corporation Malaysia (Finas), Cultural Economy Development Agency (Cendana) and MyCreative Ventures will further invigorate existing initiatives such as the digital content grant, multimedia digital content and film incentives.

He also added that the government is looking into showcasing local animation globally.

"Titles such as Upin & Ipin, Ejen Ali and BoBoiBoy are not only popular in Malaysia but also around South-East Asia.

"To market more local animation titles globally, the government has allocated RM30mil through a Matching Investment Loan Scheme for the National Animation Platform initiative which will be under MyCreative Ventures," he said. (Friday, 29 Oct 2021 The Star)

馬来西亞文創

Creative Industries Policy in Malaysia

愛墾文創 地方創生: 達人交流 最新動態

跨界·絲路:文創青年關懷濱雪一帶一路

低成長年代的人生提案:推動內容營銷,打造2019年榮景

愛墾慕課·文創篇

愛墾慕課·在地篇

《我的加雅街杜順公主》生活&旅遊札記

愛墾慕課·影像篇

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on September 13, 2022 at 12:03pm
Anticipating 2022 for the Creative Industry
Published: Nov 23, 2021

From theaters and museums to public libraries and art studios, art and culture provides multiple opportunities for learning, entertainment, leisure, personal growth, unity as well as illuminating your creativity and imagination.

Malaysia’s creative industry contribution towards the GDP stands at 1.9% for the last five years, according to the Department of Statistics Malaysia (DoSM). The COVID-19 completely disrupted the cultural and creative industries. From the recent Impact of COVID19 to the Arts and Culture Sector study conducted by CENDANA, what was illustrated in mid 2021 included more than 90% of the arts and culture practitioners being negatively impacted, 77% having lost most or all of their income, 75% of the jobs have reduced in the market and 8% of arts venues have closed permanently.

With the recent reopening of the arts and culture sector, there will surely be a sense of hope and optimism for the industry to bounce back.

On top of that, based on the recent 2022 budget announcement, an accumulated 258 million budget has been allocated to rejuvenate and forecast future plans for the creative industry.
Malaysiakini, KiniEvents and the Cultural Economy Development Agency (CENDANA) have teamed up once again to bring you Episode 2 of the webinar series titled Anticipating 2022 for the Creative Industry with guest panelists Izan Satrina, Founder and Chief Executive Officer, CENDANA, Junady Nawawi, Group CEO, MyCreative Ventures, Zainariah Johari, Head of Arts and Public Spaces, Yayasan Hasanah and Rafe Haneef, CEO, Group Transaction Banking and CIMB Foundation contributing their insights on the latest budget announcement and discuss ways the corporate sector can infuse Environment, Sustainability and Governance (ESG) practices with the Arts.
 
CENDANA is set up by the Malaysian government to build a vibrant, sustainable and ambitious cultural economy for Malaysia. According to Izan, CENDANA is tasked with promoting and developing the arts and culture economy in Malaysia.
 
Comment by 馬來西亞微電影實驗室 Micro Movie Lab on September 13, 2022 at 12:02pm
Bringing the art back alive through government’s allocation

Izan noted that it is encouraging that there has been consistent announcements on allocations given to the creative industries, and if there should be a definitive allocation under CENDANA, they would utilise it to resume the recovery initiatives for the arts and culture sector.

“The sector has just opened, and our communities have to rebuild the capital and go back to work. We also have to instill confidence among the public to return to the creative sector avenue because many of them don't feel safe in coming back, she added”

Junady also elaborated that MyCreative Ventures intends to leverage on the allocation and expand further because there is still a lot of push and lifting that needs to be done for the industry as a whole.

“With the allocation granted, we intend to apply a multiplier model, establish smart partnerships such as TripART's programme that was designed by CENDANA, CIMB Group and Yayasan Hasanah. Generally, funding only plays as an enabler, therefore, we have to provide the developmental area and cover a more holistic spectrum in the creative industry, he said”

Strategising Malaysia as a successful Art Hub

According to Izan, strategising our creative economy should begin in our country first, because we have an ecosystem where everyone plays a role including the ministries, agencies, private sectors and the industries as well. She also mentioned that hopefully 2022 could be the year for the sector to escalate with proper data and aligned trajectory in mind.

“For example, CENDANA’s Cultural and Creative City report back in 2016 laid out a baseline of information in terms of the different information, roles, jobs and revenues offered and created by the creative sector. Therefore, it is vital that we make reference to the latest data, create new interventions to scale up the sector and also shift in view of how the COVID-19 has affected the industry as a whole.

Appreciating Malaysia’s creative ecosystem

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on September 13, 2022 at 12:02pm
“The level of acknowledgement in our creative industry has to do a lot with our education system. If cultural awareness is not incorporated into the classroom then the younger generations would be less likely to express their interest in the field, Zainariah said”.

Apart from that, the influence of cultural imports in Malaysia is also a factor that affects the level of creative appreciation of the public. Cultural imports are never deemed as “cool” to the public. Therefore, organisations like ourselves and also other corporate bodies' role is to bring back the appreciation of art.

Implementing ESG practices in the Art scene

Rafe explained that the financial viability and sustainability of an art gallery depends on a steady supply and demand. For an art gallery, ESG practices can be implemented by focusing on the creation, production, distribution and the support of the supply.

Meanwhile, on the demand perspective, awareness has to be done on appreciating art such as quality art education in school and art diplomacy, promoting Malaysia’s heritage and multi-diverse culture as well as running museums professionally because quality tourism is more beneficial than mass tourism coming in Malaysia.

Zainariah also further explained that Yayasan Hasanah implements ESG practices by building capacity programmes and providing arts residency programmes for artists. This is because creating the best crafts alone is not sustainable especially during the post covid environment, and an artist has to know what to do next with their crafts.

Watch the replay of CENDANA’s Episode 2 on Anticipating 2022 for the Creative Industry here, and to watch the previous episode on Corporate Tax Deduction in support of the Malaysian Arts & Culture Sector do visit this link.
Comment by 馬來西亞微電影實驗室 Micro Movie Lab on January 23, 2022 at 4:30pm

沙巴地方

Bandar

Kota Kinabalu • Sandakan • Tawau

Daerah

Beaufort • Beluran • Kalabakan • Keningau • Kinabatangan • Kota Belud • Kota Marudu • Kuala Penyu • Kudat • Kunak • Lahad Datu • Nabawan • Papar • Pitas • Putatan • Penampang • Ranau • Semporna • Sipitang • Tambunan • Tenom • Telupid • Tongod • Tuaran

Pekan

Bingkor • Bongawan • Donggongon • Inanam • Kalabakan • Kimanis • Kinarut • Kundasang • Matunggong • Membakut • Menumbok • Menggatal • Pensiangan • Sapulut • Sepanggar • Sindumin • Sook • Tanjung Aru • Tamparuli • Telipok • Telupid • Weston • Tenghilan • Kiulu • Paitan

Pulau

Pulau Bai • Pulau Bait • Pulau Balambangan • Pulau Banggi • Pulau Batik Kulambu • Pulau Billean • Pulau Bohayan • Pulau Boheydulang • Pulau Bum Bum • Pulau Gaya • Pulau Jambongan • Pulau Kalumpang • Pulau Kapalai • Pulau Lankayan • Pulau Larapan • Pulau Libaran • Pulau Ligitan • Pulau Mabul • Pulau Maiga • Pulau Malawali • Pulau Maliangin Besar • Pulau Maliangin Kecil • Pulau Mataking • Pulau Mantabuan • Pulau Mantanani • Pulau Menampilek • Pulau Nusa Tengah

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on February 14, 2021 at 4:18pm
Comment by 馬來西亞微電影實驗室 Micro Movie Lab on February 25, 2015 at 4:25pm

沙東宵禁更安全‧水上度假村春節客滿

(沙巴‧亞庇22日訊)自從去年7月在沙巴東部海域實施宵禁令後,岸外島嶼的保安水平獲得大大提昇,也加強了遊客前往度假的信心,去年經歷了中國女遊客被擄事件的新佳馬達水上度假村,在這個春節迎來客滿的好現象。

新佳馬達水上度假村董事經理唐伍強今日受訪時透露,除了新春期間爆滿,2月份的住客率每天平均達80%,許多本地遊客想要進入度假村一日遊都無法如願。
遊客主要來自中國

他表示,該度假村的遊客主要是來自中國四川、成都、桂林、蒙古等地區,當中大多數是受到網上介紹所吸引,也有不少人是舊地重遊,趁春節帶著親友前來度假。

新佳馬達水上度假村新春期間客滿,總算熬過去年大半年的旅遊低潮期。(圖:星洲日報)


他指出,目前該度假村每天都有7至8艘船來回島嶼間,讓遊客浮潛及深潛。同時,春節期間額外開設一班15天的教練課程,每天有數十個學員參與初級和中級潛水課程,令學員區客房同樣爆滿。

25軍警輪值駐守

唐伍強認為,沙巴美麗的海域對遊客依然具有很大的吸引力,宵禁令實施無形中增加了遊客對沙巴安全的信心。

他說,該度假村現今共有25名軍警輪值駐守,軍警人員所扮演的角色除了保護遊客,也成為極佳的宣傳點。(收藏自23.2.2015星洲日報)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on February 25, 2015 at 3:46pm

《紐時》大篇幅介紹旅遊勝地‧沙巴美景吸引美民眾

(沙巴‧亞庇23日訊)舉世聞名的旅遊勝地沙巴,獲美國《紐約時報》(The New York Times)大篇幅介紹與報道,重點介紹了首府亞庇多個旅遊勝地和道地風土民情。

根據《紐約時報》旅遊專欄作者伊恩烏比那分別於本月12日及18日的報道,沙巴除了以神山聞名,當地的生態旅遊區,如人猿、小矮象、長鼻猴等野生動物保育區、濕地保護區、海島、沿海風景和海上活動,都是吸引遊客的主要元素。

野生動物海景聞名


伊恩是去年8月到訪亞庇,其中最讓他感到驚喜的,是迪加島的自然美景、富含礦物質的冷火山泥和環島的珊瑚礁,令他深刻瞭解到美國CBS電視臺選擇在此拍攝熱門電視節目“Survivor”(生存者)第一季的原因。


來到亞庇後,他走訪了西加麥木柵道、里卡士灣和丹絨亞路,欣賞了世界聞名的夕陽美景、坐落在水中央的裏卡士清真寺、中央巴剎及手工藝品中心,還品嚐了道地美食。


伊恩形容亞庇是個“多元文化之都”,除了英殖民和日戰時期遺留下來的歷史古蹟,亞庇人真誠待人,多元種族和諧相處,都讓他留下美好印象。


伊恩也走訪了加雅島,享受了銜接加雅島和沙比島的緊張刺激的鋼索滑翔,但也見到島上一群無國籍的“海上吉普賽人”。


他稱,這些“海上吉普賽人”原是來自菲律賓南部的難民和為尋求更好生活的印尼人,偷渡進入沙巴後,在此生活並繁衍下一代。他們多在碼頭工作,負責載送遊客從度假村到島上,為本地廉價勞工。(2015年2月25日星洲日報)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on August 24, 2014 at 5:12pm

文那納老火車站

彷如一再否決的手勢,搖擺在微風裡的草叢

一派無法把歷史說清楚的樣子
重重疊疊的掩蓋了昔時的火車鐵路
人們說,鐵軌很早就移走了
偏偏有人觸景傷情,想沿著記憶裡的軌跡走回去
看看沿途是什麼樣的風景
即使是想像力即興的試飛,耳邊也響起
汽笛、疾風和酷龍嘎嘎聲
說草木無情吞噬了來時路,這大概是個美麗的誤會
它們可是在分擔我們的感概
豈知每一片草葉,都是有待填寫的詩頁

攝影: engelbert@angku张文杰's

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on August 23, 2014 at 1:25pm

丹南:一切其實都在了,這個體會很好。

愛墾網墾友遊走丹南四天三夜,是喜悅的豐收;許多老朋友多年後再次見面,更多彼此久聞其名的人士,也有機會首次碰面。難得的機會啊,一聊就聊得很遠,很深。


那幾天,兜轉在腦子裡的,是蘇菲教派聖賢阿凡提(納斯魯丁)的一則故事 ~~

阿凡提有一次滿頭大汗、臉紅耳赤騎在驢子上,衝過部落的街道。

每個人都慌了,究竟發生了何事?

於是有人奔走在驢子後頭氣喘的問道:

“師父,你這是要上哪兒去?”

“我正在尋找我的驢子。”說著,阿凡提走遠了。

大家看見阿凡提的狼狽相,起初覺得很滑稽,都笑壞了。

笑完後,有人便開始哭了,覺得自己傻透了,一輩子恓恓惶惶在找尋真神;最後才發現,真神其實一輩子都和本身同在。

我想起這故事,大概是覺得丹南其實很富足;要開發在地文創產業,景觀、文化、民俗、故事、社群的熱情與魄力等等元素都存在了。

在這件事上,愛墾網不需要做那很搞笑的阿凡提(當然,他實際上是在提供反面的教材);我們眼下所需要做的,就是靜心、盡心把現有的元素挖掘、組織好,大家就能看見比較清晰的願景。

一切其實都在了,都到位了,這個體會很好。

照片右起:楊繼求、陳明發博士、陳俊豪校長、張英才、楊永青父子、Ken李勁傑。(劉富威 攝)

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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