Comment

Comment by 文創 庫 on September 20, 2022 at 12:44pm

爲「漢麗寶公主」勤背書　林美芬轉戰舞台

幾乎每個舞台劇演員都有一個登上國家文化宮（Istana Budaya）的夢，去年，連國語都不太會説的林美芬卻演了5場《Takhta 3 Ratu》舞台劇中漢麗寶公主（Hang Li Poh）的角色。今年，她擠下蘇盈之主演2月13至21日演出的馬來舞台劇《Zombie La La La》，正式成爲本地華人圈第二人入主馬來舞台劇。

• 2007年參加《我要做Model》入行後，你是如何接觸到舞台劇呢？

比賽之後，我參與了ntv7電視劇，如《時光電台》、《懼場》及《分身乏術》等作品的演出，可是當新人倍出，我的邀約就少了。這期間我試過轉到幕後，Astro的福建戲劇《家緣》就是我冩我公公的故事，也試過回家幫忙做了3年生意，但蘇盈之的一通電話，讓我再度回到了娛樂圈。

去年原是蘇盈之主演《Takhta 3 Ratu》舞台劇中漢麗寶公主的角色，但因爲檔期關係，她有5場戲沒辦法出演，所以推薦了我去面試。我的國語其實很差，面試的時候都説英語，導演都快看不 下去，但我真的很想得到這個角色，所以從下午拿到劇本開始一直背書，到晚上才面試，導演聽了，決定給我機會，我很感恩。

整個科系只有我一個華人，還是最老的一個，哈哈！不過其他同學都對我這個「kakak」很好。一開始，別人用一小時做好的功課，我要花4小時，一字 一字地翻譯和整理語法，但同學們都知道我的程度較差，平日也會借我重點筆記。我印象最深刻的是有一次考試，那一段類似古文的台詞我背了很久，在考試的時候還是忘了後半段！同學們幫我向老師求情，讓我有第二次重考的機會，可是我又在台詞的部分「卡住」，當時同學們在台下比手劃腳地給我貼士，真的讓我很感動！

籌備《Zombie La La La》時有何趣事？《Takhta 3 Ratu》開會時有五六十人，説話的速度又快，有時候我會聽不懂。可是時間很緊迫，不可能停下來解釋給我聽，幸好之後其他演員會解釋給我聽。這一次雖然我 的國語比之前好，但偶爾還是會跟不上。我記得有一次導演開玩笑説我是「sengkuang」，我以爲他是在吃沙爹要配料沙葛，引來哄堂大笑！後來他們告訴 我，是笑我糊裡糊塗、萌呆的意思。

• 接下來的計劃？

在馬來舞台劇這一行漸漸被關注的初期，我的心情有點微妙，感覺像是被中文娛樂圈拋棄了，但蘇盈之跟我説「馬來領域其實是一塊寶地」，讓我改觀不少。 我中學畢業後曾想過專攻舞台劇，但父母認爲沒前途，所以不讓我繼續，之後我就只有在教會的舞台劇上演出，就此累積了一些小基礎。其實我沒想過接下來的發展 會是怎樣，我才剛入行舞台劇，有很多部分需要加強進修。現在因爲唸書住在學院的宿捨，所以拍戲的檔期很難安排，所以就順其自然吧！

• 在馬來舞台劇的野心是什麼？

不能説野心，但我期望有一天我能冩、演另一版本的「漢麗寶公主」。在《Takhta 3 Ratu》中的漢麗寶公主，是一名從國外來到馬六甲，爲了獲得蘇丹的心而努力獻慇勤的人。而再更之前2004年左右，國家文化宮也有過一出漢麗寶公主的舞台劇，但那段冩的卻是漢麗寶公主對蘇丹不忠，出軌的故事。漢麗寶公主是故事裡華人的縮影，我爲這個角色做考究的時候，發現漢麗寶公主不過是個離鄉背井來到 大馬後，愛上蘇丹也愛上這片土地的女人，所以我希望有機會能改編這段歷史故事，去詮釋我心中的漢麗寶公主。

林美芬小檔案

生日日期：6月29日

身高∕體重：169公分/56公斤

出道：第一屆《我要做Model》

演出經歷：

2007-08年 電視遊戲節目《一擲千金》

2013年 《時光電台》

2014年 《懼場》、《分身乏術》

（2016年2月14日 詩華日報）

愛墾網：馬素麗故事

浪礁嶼的馬蘇麗是馬來西亞的潘金蓮？ 

Comment by 文創 庫 on September 19, 2022 at 5:55pm

《山打根八號娼館》

阿崎婆自小被賣到南洋沙巴當雛雞，年邁回到日本。其口述歷史造就了山崎朋子的名著《山打根八號娼館》。靠著一位小學四年級的女孩，文盲的她一直和山崎朋子保持通信，女孩的稚拙的筆跡飽含童心，寫著老奶奶身邊大大小小的趣事。

Comment by 文創 庫 on September 19, 2022 at 12:39pm

What about the Oscars? 

CJ Entertainment is in charge of overseas sales and the marketing of The Garden of The Evening Mists, touted as Malaysia’s most well-funded film to date (said to be RM20 million), jointly produced by Astro Shaw and HBO Asia. Asked about Malaysia’s chances of securing an Oscar nomination with The Garden of The Evening Mists, Astro Malaysia Bhd group CEO Henry Tan would only say what is important is that the group continues to strive for excellence in content production. The movie received nine nominations (including for best film, best director and best screenplay, and best actress for Malaysian actress Angelica Lee) at the 56th Golden Horse Film Festival and won the award for Best Makeup and Costume Design.

Tan noted, though, that Taiwanese-American Oscar-winning film director and screenwriter Ang Lee said he “hopes to see more films like this” after watching the film in Taipei.

“Both the book and the film are high-quality works with a strong positive message. I do believe both the book and film will stand the test of time and leave a mark on both Malaysian literature and Malaysian cinema,” says Taiwanese Tom Lin Shu-Yu, who directed the film based on a screenplay by British screenwriter Richard Smith, adapted from Malaysian novelist Tan Twan Eng’s book.

 

Twan Eng reckons that the film is already a landmark for Malaysia “just based on the scale of the production alone”. “The cast and crew are highly talented and diverse, coming from all regions of the world. The production values are world-class. The film looks lush and gorgeous. It focuses on a turbulent period of our history, and Tom Lin has created a sensitive, nuanced, restrained film,” he tells The Edge. 

Why should policymakers pay attention to the rise in the Asian narrative on the global stage and how can they help people in the creative arts? 

“Artists need time to master their craft, and it’s important that policymakers protect the seedlings of creativity from global capitalism and consumerism. For example, Korea has policies protecting Korean Cinema by ordering that movie theatres play at least 50% local films in their theatres. If it was all up to the theatres, they would only play what sells most, but culturally and artistically, it may become hard for that nation to improve,” Lin tells The Edge, noting that education is also key in ensuring that youths are on the same page in terms of the value that the creative arts bring to the nation and society.

 

 “If we are to catch the attention of the West, we will need support from the entire country, and at the same time, the country itself needs to promote all the goods — whether it’s literature, cinema, food, music — that are local to the international scene. Like Parasite again, it’s getting the attention it has because it’s a good film, but also, because of how Koreans have risen their image in the hearts of minds of the West, and this takes an entire nation to achieve,” adds Lin. 

While one can argue that Parasite “may not be Boon Joon Ho’s strongest film”, Lin notes that “it has gotten him furthest into the mainstream in the west”. 

“If Parasite was made 10 to 15 years ago, it might not reach where it is now… this wouldn’t have been possible if not for the whole K-Pop culture getting into the West first,” Lin says. （The Edge Malaysia，November 10, 2020）

Comment by 文創 庫 on September 18, 2022 at 5:08pm

Boosting The Exports of Malaysia's Creative Content Through Partnership

MONDAY, JANUARY 23, 2017, KUALA LUMPUR: Malaysia External Trade Development Corporation (MATRADE) and China Intercontinental Communication Co.,Ltd (CICC) marked a momentous occasion today by signing a Memorandum of Understanding (MoU) to promote trade of creative contents between Malaysia and China. The MoU signing was witnessed by Minister II of International Trade and Industry (MITI) YB Dato' Seri Ong Ka Chuan.

MATRADE was represented by its Chief Executive Officer Dato' Dzulkifli Mahmud and CICC by its Vice President Mr. Jing Shuiqing.

The MoU aims to strengthen communication and cooperation between media organisations in China and Malaysia by leveraging on China's One Belt, One Road (OBOR) initiative. The MoU will see MATRADE and CICC working together to link industry players from both countries to embark on exchange of creative content (such as films, documentaries and television shows, among others) and business matching (through MATRADE's International Sourcing Programme) for the purpose of driving trade of creative contents for both nations. The collaboration will strengthen the existing professional ties between both countries and could also initiate the sharing of experience, knowledge and best practices with China.

According to Dato' Dzulkifli, the MoU is an important step forward for both parties to promote cultural exchange through each other's media channels. "This partnership will facilitate and coordinate the communications between media players of both countries. With this partnership, Malaysian media can rest assured that they have a partner in China to assist them in areas such as co-productions," he said.

The Malaysian government has identified creative content as one of the Entry Point Projects (EPP) under the Economic Transformation Programme to enhance capacity, capability and competency of the industry in producing world-class content and additionally making Malaysia a regional hub for digital content.

In the EPP, the creative content industry is expected to contribute RM3.04 billion to Gross National Income (GNI) and produce more than 10,000 jobs by year 2020. The industry is also targeted to have an annual growth rate of 20 percent.

In the latest figures recorded in 2015, creative content contributed RM9.55 billion and represents 6.4 percent of the total Gross Domestic Product (GDP). To date, Malaysia has exported RM6.8 billion worth of creative contents.

With China as one of Malaysia's biggest trading partners, the MoU sets to further strengthen China's and Malaysia's relationship by leveraging on the OBOR Initiative, which is a development strategy and framework of China's government to boost connectivity and cooperation between China and the rest of the world.

MATRADE as Malaysia's export promotion agency provides various export facilitation such as market intelligence, trade advisory, export promotion and capacity building programme for Malaysian companies. The agency, under MITI, has trade offices in Beijing (beijing@matrade.gov.my), Shanghai (shanghai@matrade.gov.my), Guangzhou (guangzhou@matrade.gov.my) and Chengdu (chengdu@matrade.gov.my) that functioned to help Malaysian companies penetrate into the China market. (Source: https://www.matrade.gov.my)

Comment by 文創 庫 on September 17, 2022 at 10:24pm

Creative Industries Policy in Malaysia 2009

Malaysia’s DIKN document issued in 2009 is to date the only policy document that defines and
articulates a creative industries policy for Malaysia. When it was launched the DIKN was touted to
“empower the creative industries as a whole based on creativity and innovation, thus contributing to a high income economy and to uphold the nation's cultural heritage” (Yatim, 2011). DIKN divides the creative industries into three categories: Creative Multimedia, Creative Cultural Arts, and Creative Cultural Heritage (see Table 1 below). Whereas the DCMS model does not differentiate between different sectors, the DIKN acknowledges that there are technological, creative, and platform differences between the three. It also makes explicit the emphasis given to digital media which has become a focus of government agencies, and the only creative industries sector targeted explicitly in the 2015 Budget (“Bajet 2015,” 2014).


The twin emphasis in the DIKN is on the economic contribution of the creative industries and on
mainstreaming intellectual property. Expanding employment opportunities is emphasised as is the need to find markets overseas and export cultural products. According to the DIKN document, Malaysia’s creative industries contributed only 1.27% to national income, less than half of what comparable countries record (DIKN quotes figures of 3%-5%). Clearly Malaysia finds itself in a position of relative disadvantage in terms of the size, contribution, status, strength, and visibility of the creative industries in comparative terms. (Creative Industries Policy in Malaysia, 2015)

Comment by 文創 庫 on September 16, 2022 at 3:34pm

Malaysia’s creative industry contribution to GDP remains low

by S BIRRUNTHA

MALAYSIA’S creative industry contribution towards the GDP stands at 2% for the last five years, according to the Department of Statistics Malaysia (DoSM).

Chief statistician Datuk Seri Dr Mohd Uzir Mahidin said at the moment, the industry contributes approximately 2% towards the GDP and employs around one million people.

He added that while the industry’s exports maintained its contribution at 0.2%, the contribution of employment decreased to 5.7% in 2019.

“Looking at the statistics, we notice all the main indicators show a very small contribution of the creative industry towards the Malaysian economy.

“However, we do believe there is some room for improvement to increase the industry’s overall contribution towards the country’s GDP,” he said in a virtual presentation titled “Overview of the Arts and Culture Sector of Malaysia and its Future Outlook” at the Creative Economy Forum 2021.

Mohd Uzir noted that while the creative industry is significantly impacted by the Covid-19 pandemic, it is showing signs of recovery in the third quarter of 2020 (3Q20) with a growth percentage of 31.7%.

He said to further boost the industry, support from all parties including government agencies and the private sector is needed to contribute to its development.

He also said a satellite account for the country’s creative industry is now being compiled by the DoSM to further monitor its growth.

According to Mohd Uzir, the main contributions of the creative industry towards the economy are the multimedia industry with 50.7%, followed by the culture and art industry (49.2%).

Over the past years, the creative economy has made a significant contribution to world trade as world exports of creative goods increased to US$509 billion (RM2.11 trillion) in 2015 from US$208 billion in 2002.

In 2019, the country’s exports of creative goods were at RM220 million, comprising items such as printed book，brochures, printed materials, pictures and photographs. Mohd Uzir said among the countries involved in the exports of creative goods are India, China, Singapore, Hong Kong, Thailand, Taiwan, Turkey and Poland.

Comment by 文創 庫 on September 16, 2022 at 3:29pm

In terms of imports, Malaysia has imported creative goods amounting to RM367 million in 2019. The goods include printed materials such as leaflets, printed book brochures, paintings, pastels and drawings.

Meanwhile, speaking in a live address during the forum, Communications and Multimedia Minister Datuk Saifuddin Abdullah said the threat of Covid-19 continues to loom over the creative industry, as the country races to find a solution to end this pandemic.

He added that until then, the creative industry needs maximum support to pivot, adapt and evolve.

 

“The silver lining to our current predicament is that it has also presented an opportunity for the industry to take the necessary steps to become more resilient and robust to face future challenges.

“We needed to find ways beyond financial subsidies and tie-over measures, to enable artists and creative enterprises to become self-sustaining and realise their potential of becoming significant income-generators for Malaysia’s economy,” he noted. 

The Creative Economy 2021 Forum, jointly hosted by MyCreative Ventures Sdn Bhd, Cultural Economy Development Agency (Cendana) and Riuh, was held virtually via Zoom Webinar yesterday.

 

The forum brought together the arts, donors and businesses, for discussions and conversations on priorities, as well as opportunities to create a vibrant, ambitious and sustainable creative economy for Malaysia.

MyCreative, which also includes Cendana, was given the mandate to implement and carry out the short-term National Economic Recovery Plan (Penjana) for the creative industries, through a variety of schemes and initiatives such as live event grants, digital marketing grants, matching investments schemes, fast track and low-interest soft loans, as well as the digital velocity programmes comprising digital marketing and promotion training, connectivity assistance and advisory services.

 

A total of 1,745 applications worth RM73 million for various measures from the stimulus package are currently being reviewed by MyCreative.

In the meantime, Cendana has approved 234 applications worth about RM3.5 million.

A further 114 applications amounting to RM9.6 million were also approved for distribution to successful applicants under the Penjana for the creative industries.

（Wednesday, October 21st, 2020，Source: (https://themalaysianreserve.com）

Comment by 文創 庫 on September 15, 2022 at 8:17pm

Murut’s 1930 New York journey going global

KOTA KINABALU: The story of Saudin bin Labutau from Kg Ambual in Keningau who became the first Malaysian – and for that matter from this part of the world – to visit New York in the 1930s and return to Sabah to tell his adventure will be known to the world soon.

Peninsula-based RYE Productions Sdn Bhd, noted for producing television dramas and concerts, has made a documentary on the exploits of the partially blind Murut. It would be shown on History Channel after the official launch in Sabah on Oct. 28 at UMS by Chief Minister Datuk Seri Panglima Hajiji Noor.

The documentary combines actual footages, dramatised re-enactments of Saudin’s life, including interviews with family members about their grandfather, who is well documented in the 1939 international classic by Agnes Keith, “Land Below The Wind”.

                   James briefing Hajiji about Saudin while Noreini (left) and Noorhayati look on

Comment by 文創 庫 on September 15, 2022 at 8:17pm

Agnes devoted an entire chapter in her book to Saudin, also dubbed “the Murut Marco Polo” after his return from New York. It was she who recommended him to pioneer Hollywood silent era wildlife documentary makers Martin and Osa Johnson, when they completed shooting the movie “Borneo” after spending one and a half years on the Kinabatangan in 1935.The Johnsons wanted someone who could look after Abai, one of the largest orang utans ever captured alive in Kg Abai, during the ship’s journey to New York Zoo, along with few more orang utans, gibbons and proboscis monkeys.

The ship left Sandakan for the month-long journey calling at Singapore, Port Klang, Mumbai, Colombo, Capetown, Morocco, and several other ports along the way, before crossing the Atlantic to New York.

Saudin pointing to skyscrapers coming up in New York in 1938. during a talk organised by Martin to New York’s elite, Saudin remarked in Malay that he was surprised to see New Yorkers lived in concrete cages while in the Borneo rainforest, only wild animals lived in cages. – Pic courtesy of the Saudin household.

It was noticed that only Saudin had the special ability to calm Abai, which won him the ticket to travel to the Big Apple at a time when New York ala Wall Street was the “happening capital” of the world. This is what lends the documentary the title “Saudin: The Orang Utan Whisperer”.The documentary is a powerful story of not just the bond that developed between man and animal but also of Saudin’s internal conflicts and observations, especially of adjusting to the shock of being suddenly plucked out of the Borneo rainforest and transplanted into the concrete jungle of New York.

Among the establishments that supported the documentary is the Safari Museum in Kansas, USA, where the iconic work of the Johnsons is stored and Finas.The documentary also received the support of the State Government and Hajiji praised the producers for their extensive research and resolve to put Sabah on the world map through the documentary.

Abai the largest orang utan ever captured alive, who died in New York’s Central Zoo.

Those who were present at the briefing for the Chief Minister at the State Administration Building on Wednesday included producers Noreini Abdul Rahman, Noorhayati Abdul Rahman, Director Muhd Zaili Sulan, Norsina James Julius, a granddaughter of Saudin and James Sarda, Chief Editor of the Daily Express, who has done research on Saudin, Agnes Keith and the Johnsons. — EDITOR（Source: https://sabahbarunews.com）

Comment by 文創 庫 on September 14, 2022 at 2:38pm

联合国大会8 November 2019 发布的文件（官方编号：A/C.2/74/L.16/Rev.1）
第七十四届会议第二委员会议程项目 17《宏观经济政策问题》

澳大利亚、不丹、加拿大、中非共和国、哥伦比亚、厄瓜多尔、斯威士兰、几内亚、几内亚比绍、海地、印度、印度尼西亚、约旦、莱索托、毛里求斯、蒙古、摩洛哥、尼泊尔、巴布亚新几内亚、菲律宾、塞舌尔、斯里兰卡、苏里南、泰国、土耳其和乌克兰：订正决议草案

2021 国际创意经济促进可持续发展年

大会，

重申《联合国宪章》，包括其中所载的宗旨和原则，以及联合国系统特别在促进经济、社会、文化、教育和卫生领域国际合作方面的职能和权限，又重申其 2015 年 9 月 25 日题为“变革我们的世界：2030 年可持续发展议程”的第 70/1 号决议，其中大会通过了一套全面、意义深远和以人为中心的具有普遍性和变革性的可持续发展目标和具体目标，承诺做出不懈努力，使这一议程在 2030 年前得到全面执行，认识到消除一切形式和表现的贫困，包括消除极端贫困，是世界的最大挑战，对实现可持续发展必不可少，并决心采用统筹兼顾的方式，从经济、社会和环境这三个方面实现可持续发展，在巩固实施千年发展目标成果的基础上，争取完成它们尚未完成的事业，确认需要推动持久的包容性经济增长，促进创新，为所有人创造机会、提供福利、增强权能并尊重所有人权，回顾其关于宣布国际年的 1998 年 12 月 15 日第 53/199 号和 2006 年 12 月 20日第 61/185 号决议，以及经济及社会理事会关于国际年和周年纪念的 1980 年 7月 25 日第 1980/67 号决议，特别是该决议附件中关于宣布国际年商定标准的第 1至 10 段，以及规定在为国际日或国际年的组织工作和经费筹措作出基本安排之前不应宣布国际日或国际年的第 13 和 14 段，

认识到在一些国家称为“橙色经济”的创意经济主要涉及以知识为基础的经济活动以及人类创造力与想法、知识和技术之间的相互作用，此外还有文化价值观或艺术、文化遗产和个人或集体的其他创造性表现形式，回顾《联合国教育、科学及文化组织组织法》，其中规定该组织宗旨与职能的一部分是维护、增进及传播知识，为此鼓励国家间在文化活动各个部门进行合作，并注意到联合国教育、科学及文化组织关于文化与可持续发展的报告，1 其中指出文化和创意产业应是经济增长战略的组成部分，

认识到当前需要在包括创意产业在内的可持续增长新领域支持发展中国家和经济转型国家实现生产和出口多样化，承诺支持发展中国家经济体通过高增值部门逐渐转向高生产力并使之持续，为此要促进多样化、技术升级、研究和创新，包括创造优质和体面的生产性工作岗位，途径包括促进文化和创意产业、可持续旅游业、表演艺术和遗产保护等活动，

认识到国际社会应支持发展中国家的国家努力，使这些国家进一步参与有活力的部门并从中受益，促进、保护和宣传其创意产业，包括制定战略适当保护和落实知识产权，肯定创意产业可有助于促进积极的外部因素，同时保护和弘扬文化遗产和多样性，并有助于推动发展中国家投身于世界贸易新的、充满活力的增长机会，并从中受益，欢迎联合国贸易和发展会议、联合国教育、科学及文化组织、联合国开发计划署、国际劳工组织、联合国南南合作办公室、世界知识产权组织、联合国粮食及农业组织和联合国系统其他实体努力倡导创意经济促进可持续发展，赞赏地注意到各种国际和区域会议努力促进创意经济，包括 2018 年 11 月 6日至 8 日在印度尼西亚巴厘首次举行世界创意经济大会，2019 年 9 月 9 日和 10日在哥伦比亚麦德林举行橙色经济全球峰会，期待于 2020 年在阿拉伯联合酋长国召开第二次世界创意经济大会，同时注意到成果文件“创意经济巴厘议程”，确认创意经济在支持落实可持续发展目标方面的作用，指出保护和强制遵守知识产权可支持和强化创意经济，

肯定创新对于发挥每个国家的经济潜力至关重要，并确认各国支持大众创业、万众创新的重要性，这将为经济增长和创造就业凝聚新的动力，为包括妇女和青年在内所有人创造新机遇，确认创意经济在创造充分和生产性就业、创造体面工作、发扬创业精神、激发创造力和创新、鼓励中小微企业的正规化和成长、刺激创新、增强民众权能、促进社会包容和减少贫困方面的作用，重点指出创意经济鼓励在实现包容、公平和可持续增长和发展的过程中进行创造和创新，同时便利生活转折过渡，支持妇女、青年、移民和老人，并增强弱势群体的权能，

强调指出国家为促进文化表现形式多样化制定适当政策和激发创造力促进可持续发展的重要性，

强调创意产业方面的国际贸易包括创意产品和服务贸易增长强劲，对全球经济作出了贡献，肯定创意经济的经济和文化价值，

重申应让所有员工都有终身学习的机会，所有学员都应掌握可持续发展所需的知识和技能，具体做法包括教育促进可持续发展、可持续生活方式、人权、性别平等以及增强妇女和女童权能，弘扬和平和非暴力文化，提升全球公民意识，肯定文化多样性和文化对可持续发展的贡献，

认识到需要创造促进创意经济的有利环境，如开发数字技术，发展创新经济、数字经济和电子商务，建立相关数字基础设施和连通支持可持续发展，增加公共和私营部门对创意产业的投资，制定相关法律框架，从而优化创意经济产生的经济、社会和文化惠益，强调创意经济能促进经济增长和创新，消除贫困，创造充分的生产性就业和人人获得体面工作，提高生活质量，增强妇女和青年人的权能，减少国家内部和国家之间的不平等，因而能促进可持续发展的三个方面并实现《2030 年议程》，强调指出统计创意经济对实现可持续发展目标贡献的定期、可靠和可比数据具有重要意义，

1. 决定宣布 2021 年为国际创意经济促进可持续发展年；
2. 鼓励所有会员国、联合国系统各组织、其他国际和区域组织以及民间社会、私营部门、非政府组织、学术界和个人以适当方式并按照国家优先事项庆祝国际年，以提高认识，促进合作和建立联系，鼓励交流最佳做法和经验，提高人力资源能力，促进各级的有利环境，并应对创意经济的挑战；
3. 邀请联合国系统和所有相关利益攸关方为国际年捐款并提供支持；
4. 邀请秘书长提请所有会员国、联合国系统组织、其他国际和区域组织以及包括非政府组织、个人和私营部门在内的民间社会注意本决议，并鼓励秘书长邀请联合国实体同心协力，协同增效地支持国际创意经济年的落实工作；
5. 强调指出执行本决议可能产生的所有活动费用应由自愿捐款支付；
6. 请联合国贸易和发展会议秘书处并与联合国教育、科学及文化组织和联合国系统有关实体协商，在《创意经济展望》的专门章节中，向大会第七十七届会议说明本决议的执行情况，特别阐述本决议如何与《2030 年议程》保持一致并推进《2030 年议程》，并就帮助会员国和联合国系统加快努力实施《2030 年议程》的具体行动提出建议。

• ‹ Previous
• 1
• …
• 13
• 14
• 15
• 16
• 17
• …
• 19
• Next ›
• Page