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Comment by Host Workshop on September 27, 2022 at 3:30pm

陳明發·關于〈海絲文化～一帶一路的沙巴敘事〉

有關我前晚配合沙巴大學孔子學院“一帶一路”倡議10週年紀念（2013-2023）前奏曲所作的研究心得報告，借這裡和諸位談談我的會後想法。

1 首先當然要萬分感謝沙巴大學孔子學院馬方院長羅國安教授及中方院長鄧嶸副教授的邀請及貼心安排，並得到沙巴亞庇華人同鄉會館聯合會總會長拿督黃小娟的大力協助，加上各族、各領域、各年齡層參與者的積極上線，讓我有機會在家做分享，表達我對婆羅邦的真摯寄望。

2 有關講題〈海絲文化～一帶一路的沙巴敘事〉的嘗試，鎖在三個方向：

（a）在敘事領域，沙巴很有本錢；文化資本讓沙巴成了馬來西亞的敘事大邦；

（b）作爲渤泥古國一部分的北婆沙巴，自古與中國在南海網絡上關繫密切，使到沙巴敘事更具絲路文史價值；

（c）在新冠肺炎前，文化創意産業一直是全球經濟中成長最高、最穩定的行業，不僅能帶動其他傳統領域，也製造了大量新的就業機會；全球組織如聯合國大會、世界旅遊機構、聯合國教科文組織等都異口同聲，認爲突破疫後困局最有力的策略之一便是藉助文創産業的動力。最重要的是，敘事藝術一直都是文創領域最核心的創生元素。

3 此講座論據得到舉辦與合作單位的接受與認可，並可與彼此現有的項目互相交融、借力，無疑有助於各行各業疫後振興的努力。

4 也是沙巴著名民俗學專家的羅院長，和来自中國深化創新創業教育改革示範高校長沙理工大學的鄧院長在會後表示，他們目前正在積極輯稿有關本邦華裔文化的學刊，還有援助影視工作者的鄉土紀錄片等計劃，都非常需要“説好沙巴故事”的內涵。

5 “一帶一路”終極目標是全人類“命運共同體”，沙巴南海敘事+文創策略+各行各業創新整合，是我們立足21世紀海上絲綢之路網絡，面向疫後重建復興的總體工作。

6 華裔近代二百餘年來有能力紥根海外並開枝散葉、開花結果而不竭，學界一直推崇要歸功於“三寶”：華教、華媒與華團。

7 沙巴孔子學院這回的講座完成舉辦，在在顯示了學府+媒體+社團三寶融洽配合的良好範式。

8 把前述的“總體工作”接軌“良好範式”並逐步昇級，沙巴敘事對一帶一路的價值勢將實現出來。

我當晚的講座雖着重沙巴，文創對隣邦砂拉越也一樣事關重大。實際上，從官方與民間的努力來説，砂拉越目前走得更快。每年7月於古晉郊外山都望山腳下舉辬的雨林音樂節，早已是國際音樂創意節慶的國際品牌，就是最好的說明。另一個好例子是砂拉越文協的多年努力（包括最近還招募了好些各領域的青年專才），犀鸟之鄉除了文化事業逐日繁茂，彰顯文化兢争力外；其文創商機也將無可限量。

當然，沙砂二邦若能及早整合起來，要發揮更大的文化動力，無疑指日可待。（27.9.2022）

Comment by Host Workshop on September 18, 2022 at 6:05pm

Creative industry content can be lucrative export for Malaysia

Tun Dr Mahathir Mohamad said creative industry content such as movies, dramas and animations could be a lucrative export for the country if the products were of high quality.

The prime minister noted that the creative industry is a thriving sector in Malaysia with the existence of 345 MSC Malaysia status companies under the Creative Content and Technology cluster out of a total of 2,986 active MSC Malaysian companies as of March 31, 2019.

 

"In 2018, the MSC Malaysia status companies under this cluster recorded sales of RM7.69 billion with export value of RM1.4 billion and provided 11,471 job opportunities," he said in his speech at the 15th National Academy of Arts Culture and Heritage (Aswara) Convocation Ceremony here today.

Dr Mahathir believes that ASWARA, with its variety of faculties can provide high quality creative industry content and products for local and international markets.

 

Meanwhile, the prime minister stressed that Malaysia could not lose its identity which was shaped through its cultural and artistic diversity.

"We need to balance physical and material progress with the development of arts and culture because it is only in this way that we can strengthen the civilisation of the nation," he said.

He further noted that Malaysian culture, like the culture of other countries, is constantly changing due to external influences, developments in communication, technology and others.

 

"In this regard, arts and culture education is very important because we do not want to experience cultural degradation and poverty," Dr Mahathir said, adding that the decline would erode values vital for the survival of the nation.

“If arts and culture are not championed, society will no longer understand the functions and use of the core culture which becomes (our) identity, and instead they will know more of foreign cultures. With this, the noble values we inherited will also disappear,” he said.

 

Dr Mahathir said the rich Malaysian culture should not just be expanded within the country but should also be promoted on the global stage, while the people should also learn the cultures of other communities.

He said it is time for the government and Malaysians to pay attention to the country’s arts and culture which formed the pillar of racial identity.

 

Earlier, Dr Mahathir and his wife Tun Dr Siti Hasmah Mohd Ali were awarded an honorary Doctorate in Creative Arts in conjunction with the Aswara convocation. The award has just been introduced by the institution.

“This award is very meaningful to us. But what is more important is that this award has placed arts and culture as a subject which should be given attention.

"Culture in particular can determine the success or otherwise of a race, and indeed an individual,” said Dr Mahathir, adding that he and his wife were honoured to be the first recipients of the award. （Bernama : 07 Nov 2019 ）

Comment by Host Workshop on September 17, 2022 at 11:05pm

馬来西亞文創
Dasar Industri Kreatif Negara

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 Host Workshop on September 16, 2022 at 4:01pm

Malaysia’s creative industry contribution to GDP remains low

by Dr. Tan Beng Huat

In every 15 Malaysian employees, there is 1 creative worker, or 6.7% of our total labor force. However, the creative industry contributes approximately only 2% towards the Malaysian GDP for the last year before Covid-19 pandemic，and constitute 0.2% of our exports. In 2019, the country’s exports of creative goods were at RM220 million, comprising items such as printed books，brochures, printed materials, pictures and photographs. Among the countries involved in the exports of creative goods are India, China, Singapore, Hong Kong, Thailand, Taiwan, Turkey and Poland.(Source: 21.10.2020 The Malaysian Reserve)

The Global Reality

If we compare our data with with that of the world market, we will soon realise where are our weaknesses and opportunities for catching up:

Figures published by UNCTAD in May 2013 show that world trade of creative goods and services totalled a record US$ 624 billion in 2011 and that it more than doubled from 2002 to 2011; the average annual growth rate during that period was 8.8 per cent. Growth in developing-country exports of creative goods was even stronger, averaging 12.1 per cent annually over the same period. (CREATIVE ECONOMY REPORT 2013>WIDENING LOCAL DEVELOPMENT PATHWAYS by UNDP)

Comment by Host Workshop on September 15, 2022 at 7:59pm

Documentary on Murut’s 1936 New York visit

Published on: Tuesday, November 30, 2021

By: Sherell Jeffrey

Kota Kinabalu: The first Sabahan – and perhaps the first Malaysian – to visit New York in 1936 and who returned to tell his tale is the subject of a documentary slated for release next year.

Called “Saudin the Orang Utan Whisperer” it is expected to spark interest in Sabah and Keningau and revolves around Saudin Labotao from Kg Ambual in Keningau. He was hired by the world’s first wildlife filmmakers Martin and Osa Johnson to handle animals on their voyage from Sandakan to New York.

Among the animals was Abai, the largest Orang Utan to be captured alive who was placed in the New York Zoo. It was so strong that it bent the bars there as reported in the New York Times then.

Saudin’s experience travelling to New York just before World War II was chronicled in Agnes Keith’s 1939 international classic, Land Below the Wind. She devoted an entire chapter to Saudin, as she did the Johnsons.

It was also Agnes who recommended Saudin to the the Johnsons for the purpose as he was skilled in looking after animals.

Saudin was featured in a coffee table book entitled “Spirit of Borneo: Hollywood’s first glimpse” about the Johnsons’ visit to then British North Borneo in 1920 and 1935.

Comment by Host Workshop on September 15, 2022 at 7:59pm

The book was co-authoured by Daily Express Chief Editor James Sarda and Universiti Malaya History Professor Datuk Dr Danny Wong.

James had also featured Saudin in a special report in the paper titled “Saudin, The Murut Marco Polo.” His trip to New York took him to Singapore, India, South Africa and many other ports of call along the way.

Producer Noreini Rahman of Rye Production Sdn Bhd said interest in making a movie about Saudin was sparked when she came across the “Spirit of Borneo” now a collector’s item due to its limited circulation. She carried out extensive research on Saudin both in Keningau as well as places he had been to while in New York and liaised with the Safari Museum in Kansas where much of the Johnsons memorabilia are kept.

Noreini also established contact with Saudin’s family members and has involved his grandchildren in the film as well.

The production team on Monday met with Sabah Tourism Board Chairman Datuk Joniston Bangkuai to discuss possible collaboration to promote the documentary as well as turn Saudin’s house in Keningau into a museum gallery for heritage tourism.

Also present were Sabah Tourism Board chief financial officer Julianus Jimit and Saudin’s grandchildren Norman James Saudin and Norsina James Saudin.

Joniston, who is also Assistant Minister of State Tourism, Culture, and Environment, agreed on the necessity for Saudin’s story to be told because he played an important role in bridging the gap between different cultures.

“Something has to be done. The Sabah Tourism Board is always looking for new tourism products, and Saudin story has much potential.

“We need to promote who Saudin is and I believe the documentary will generate interest. Of course, we will play our part in promoting Sabah,” he said.

Joniston said a team would be sent to Saudin’s abandoned house in Kg Ambual to assess the possibility of turning it into a tourist attraction.

Saudin’s house, according to his grandchildren, is in its original condition but has been slightly damaged by termites. His belongings have also been left in place. His grave is nearby.

Noreini said she spent four years researching Saudin and that the production team pitched the story to the National Film Development Corporation (Finas) and History Channel.

The documentary is nearly finished and would be submitted to Finas as well as the History Channel for final approval.

“With the assistance of the Sabah Tourism Board, we hope to launch the documentary in Sabah. This is a crucial documentary focusing on a native Sabahan and we want the younger generation to know him as he is part of history.

“We also engaged the Kansas History of Museum, and they are excited to collaborate with us,” she added.

Norman, his grandson, plays Saudin in the documentary. The friendship between Saudin and the animals he cared for, as well as the western people he met, is highlighted in the story.

There was also interest in making a musical on Saudin a few years ago by a Sabahan entrepreneur, Peter Chua. However, it did not materialise.

Further Reading: Murut’s 1930 New York journey going global

Comment by Host Workshop on September 14, 2022 at 8:47pm

The Story of Belt & Road initiative
By Dr. Tan Beng Huat

Good story is always universal. I still remember when I paid a visit to my old acquaintance in Wu-ai Distribution Market of Shen Yang City a few years back, I met a group of delegations from Selangor. A few Indian business leaders were among them, and there were no problems at all for them understanding the concept of the Belt and Road Initiative. Their leader even said that they could help convey the opportunities offered by this initiative to their partners in India. Yes, the Indian government do worry about their ocean may be dominated by the Chinese Fleet. However, if they are willing to learn just a little bit of the history of Zheng Ho's voyages (not once, twice but 7 times), or that of Arabian or Venetian merchant ships right before the arrival of Spanish, Portuguese, Netherlands and English war ships, then they will understand whom they should be cautious of. (The author: 1st on the right)

Comment by Host Workshop on May 30, 2022 at 4:05pm

愛墾評·深度叙述
說說這次旅行

一場暴雨迎接初夏
把惠安的清新
洗刷得越發通透
旅行中是否有過這樣那樣的“艷遇”
即使是擦肩
也是一種美好

於是，一顆心就這樣被你吸引
尋找每一縷幽香
將跨越時間的斑斕
定格在初夏的惠安
探尋你曾經
走過的每一處風景

每個人的心中都有一個崇武天空，
這裏是他們認識惠安的開始。
而婀娜多姿的惠安女服飾表演，
更是把遊客的興致提到最高點。

崇武：石頭與大海的藝術

每個人的心中都有一個崇武天空，這裏是他們認識惠安的開始。而婀娜多姿的惠安女服飾表演，更是把遊客的興致提到最高點。

在崇武古城這座石頭堆砌的“城堡”裏，美無處不在，這裏也是邂逅惠安女的好所在。

崇武的石雕舉世聞名，崇武的海岸全國享譽，這些優質資源催生出令人向往的旅遊目的地，在這個初夏慢慢發酵，叫人欲罷不能，總想來一場說走就走的旅行 。

即使在同一個地方的日出日落，都會因為海水的潮汐，角度的變動而呈現出不一樣的美。（福建惠安美女文創）

愛墾原創·如何經营文史體驗產品

阿兰·德波顿《旅行的艺术》对旅行的期待

Tourist Gaze 3.0

阿兰·德波顿《机场里的小旅行》

顾晓鸣·休闲的本真是“诗性劳作”

“诗”和“远方”

阿兰·波德顿《给工作一个讃》

Comment by Host Workshop on May 27, 2022 at 10:26pm

〈望夫石〉邢鐵

山頂的風吹著濡濕的傳說

我靠在黃昏裏

把目光融進岩化的視線

海天處是一片空濛的粼光

疑惑有如山徑

在不斷加重的喘息聲中

走成最終的轉折

之後 又化作遼遠的回聲

我想那場風雨

一定把她們送過了銀河

這山頂長出的石頭

只是那些不願回去的歲月

故事蹣跚了幾百年

守望從重洋彼岸縮進彼此的視野

路途不再是淒苦裏的沈痾

而更冗長的等待

卻仿彿飄在咫尺之間

Comment by Host Workshop on May 24, 2022 at 12:54am

永恒的青春在樹林里

自然是一廟堂，圓柱皆有靈性，

從中發出隱隱約約說話的音響。

人從那里過，穿越象征的森林，

森林用熟識的目光將他注視。

“藝術確確實實地潛伏在自然里，誰能把它從中剝離出來，誰就占有了它。”（里爾克：《藝術家畫像》）在雲彩、四季、鳥類、野獸和植物世界中，都有著無窮的喻體。森林漫無邊際，在森林里，我們會想起諸如“雪野”“冥想”“寂靜”“迷失與微明”“生命的流逝”“繁盛”之類與主觀情緒相關的符號化詞語。尤其在黑暗和光明交織的時候，森林最顯深意。黎明、黃昏、暴風雨前的森林，常常能帶給我們視界之外的心靈溝通和感應。

更進一步說，在森林的周遭，會形成特有的土壤與河流、物候與天象，表現出喧囂與寧靜、光明與黑暗之間的張力。森林以此啟示了美學的豐富性和我們自身經驗的完整性，是世界之澄澈狀態的隱喻。甚至它還攜帶著自身的德性，幫助人“穿過幽冥與晦暗”，重新獲得一種透徹與明朗。（劉東黎 “永恒的青春在樹林里”——關於森林的詩學，2021，作者劉東黎為中國林業出版社社長、總編輯  / 原載《光明日報》2021年04月16日13版）


劉東黎 “永恒的青春在樹林里”——關於森林的詩學

新篇 森林康养

波德萊爾《契合》

饒靜《不可再現物的再現——洪希耶論美學之倫理轉向》

古詩裏的遊記

詩性心靈與詩意義

綿延之群：以德勒茲－柏格森生命哲學重思生態學

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