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Comment by Place Link on February 16, 2024 at 7:31am

Soft Infrastructures

Indigo Communities and Traditions The recipes for indigo dye and the patterns and motifs created through weaving can vary from one community to the other. Weaving communities grow indigo plants using traditional methods11 and make use of locally grown and spun cotton and silk yarns. A system of shared facilities keeps costs down, promotes collaboration and the circulation of resources and knowledge between communities. The weaving process is equally demanding and heavily reliant on the labour of women.

Girls are socialised from a very young age, starting with cotton spinning and picking. Women learn to work together, where the younger and less experienced weavers can observe the proficient ones, learn their patterns and practise under supervision, with knowledge passed on from older women to younger girls.12 This practice means the indigo-dyeing and weaving industry is managed 90 per cent by women. For example, in the Ban Cherng Doi cotton community enterprise group (วิสาหกิจชีุมชีนท่อผู้าฝั่้ายยอมครามธรรมชีาติบานเชีิงดอย), men are in charge of growing indigo and making dye, while women weave cotton into traditional patterns and invent new ones. Men may also deal with matters outside the home, or even occupy positions of power in the public sector that enable them to support the dyeing and weaving industry through policy decisions.13

Pioneers of Indigo Production and Community Enterprise Groups

To an untrained eye, indigo products may all look the same, but the expertise is embodied in the production process, the history of the practice, different techniques and additives used, and the quality of the woven materials. Some long established groups are distinct in the way they make, manage and develop their products. Nakhon Tumtao Agricultural Housewives Group (บานนครถำ าเต่า) was established in 2008 as a community-managed production network consisting of 372 indigo weavers from different villages, each member taking care of a specific part of the production process. The group is led by Ms Somkid Promchak (คุณสมคิด พัรมจักร) (known as Mae Soom: แม่สุ ่ม), who left to be educated elsewhere and returned in 1998. The group has collaborated with Kasetsart University and other agencies to research natural dyes and has developed its own recipe using lotus plants as an additive to the indigo dye.14

Ban Kamkha Indigo Weavers Group (บานคำาข่า) has been running since 1994 as a community enterprise producing hand-printed cotton. Ms Pira Prasertkantong (คุณพัิระ ป์ระเสริฐกานตง) is the local craft expert and instructor in a government- initiated project for local craft promotion (SUPPORT Arts and Crafts International Centre of Thailand – SACICT) and continues to innovate by introducing new patterns. The group’s goal is to grow its own cotton and create special recipe dyes incorporating mud and husks. Taking a different route to market, the Ban Oondong Nong Chaiyawal Indigo Community Enterprise (กลุ ่มวิสา- หกิจชีุมชีนท่อผู้ายอมครามบานอ้นดง-หนองไชียวาลย์) distributes its unique weaved patterns from indigo-dyed, hand-spun cotton threads through an online channel. Led by indigo expert Ms SuneePromkomol (คุณสุนีย์ พัรอมโกมล), it is supported by the Biodiversity-Based Economy Development Office (BEDO) under the Ministry of Natural Resources and Environment to develop sustainable natural products.

Comment by Place Link on February 15, 2024 at 10:09pm

Mae Teeta (แม่ฑีตา) was the first indigo-dyed product brand in Sakon Nakhon, set up in 1992 by Ms Praphaiphan Deangchai. The brand paved the way for the resurgence of indigo craft in the province. ‘Mae’ is a respectful term meaning ‘mother’, named after the founder’s mother, Ms Teeta Janpengpen (ฑีตา จันท่ร์เพั็งเพั็ญิ). Mae Teeta is a family-run business involving the founder, her sister, her daughter and her nephew in the
production of indigo-dyed textiles and clothes.

Ms Teeta and her daughter were pioneers in reviving indigo farming in Sakon Nakhon, by introducing indigo seeds harvested from the surrounding forests into cultivation. A family-like relationship extends to the producers who plant and spin cotton with traditional spinners. Clients are also included in this extended family. Mae Teeta has a loyal base of returning customers that trust the brand and recommend its products to
others. The younger generations of Mae Teeta’s family are fashion graduates who are developing clothing lines for younger customers and introducing the brand to an international market.

Contemporary Indigo-Related Products and Shops

A new generation of makers and producers are evolving indigo craft through a combination of experimental techniques, new marketing strategies and the creation of contemporary designs, as demonstrated by Mae Teeta’s example. Branding has become a key practice in the transformation of indigo-dyed textiles from objects
of everyday, personal use to commodities available for local, national and international trade.15 KramSakon is an umbrella brand for all the indigo merchandise produced by the indigo-dyed textile industry cluster.

It is made up of 20 community enterprises and four SMEs. Members of KramSakon were among the first to establish the Phra Kram street market to sell their products through a dedicated store. One of the stores, Kram
Hug, was started by a long established clothing producer, taking advantage of renewed interest in indigo products. It creates contemporary clothes, household items and accessories designed to appeal to a younger audience. Dominating a busy crossroads with large windows and outdoor plants, Kram Thong (ครามท่อง) and Mann Craft are owned by the same family and share premises. The stores are a key stopping point for important visitors such as the Thai fashion designer Princess Sirivannavari.

The store displays traditional looms, books and signs explaining the process of indigo production.

Comment by Place Link on February 15, 2024 at 9:51am

Social and Sustainable Creative Endeavours

(pg 55) Alongside the indigo craft communities, there are new groups of returning creative entrepreneurs that are heavily influenced by sustainable living, and are actively contributing to the creative and cultural buzz of Sakon Nakhon. Many of these businesses are reconnecting with their strong cultural roots and illustrate the increasing diversity of Sakon Nakhon’s creative life.

URANFARM (อุฬารฟ้าร์ม) produces organic cacao, orchids, salad and palm oil. It is owned by Mr Narongdech Urankun (ณรงค์เดชี อุฬารกุล), a local politician and farmer who is considered a pioneer of modern organic farming, introducing new crops and utilising different marketing and sales strategies by exporting to other regions. Mr Narongdech is a key member of the Sakon Hed

Case Study Sakon Nakhon

buffalo grazing – Ms Saisunee Chiyahongsa (คุณสุนี ไชียหงษ์า) and Mr Sakai Chiyahongsa (คุณสะไก ไชียหงษ์า), leaders of the Baan Na Chuk Organic network, which hosts the annual Sakon Hed festival. Gypsy Coffee Drip and Gypsy Camp  are owned by Mr Gypsy Janpengpen (ยิป์ซี จันท่ร์เพั็งเพั็ญิ), another key member of the Sakon Hed network. Recognising an opportunity to service tourists interested in indigo products, he opened his cafe in 2014 next to the Mae Teeta shop. It is akin to a creative hub where local art and craft practitioners meet, including the Sakon Hed network. Like many others featured in this case study, Mr Gypsy returned after working as a researcher at Kasetsart University in Bangkok  and witnessing the devastating 2011 floods.17 Na Come Home (นาคำาหอม) is a brand of organic food including rice, fruit, vegetables and herbs. 

It is owned by Ms Ratikorn Tongsiri (รติกร ตงศ์ิริ), another returnee who left behind a job in Bangkok’s media industry in 2011. Concerned  with environmental issues and aiming to promote healthy living, she became an organic rice and vegetable farmer. Ms Ratikorn expanded her farm and opened an organic cafe, Come Home Sakon, at the end of 2011. The cafe sells desserts, drinks and locally sourced goods as well as showcasing local indigo products. Come Home Sakon is popular with locals, visitors and a network of young entrepreneurs that gather here. Profits from Na Come Home and the cafe are donated to local childcare centres and schools, reflecting other initiatives that are giving back to the community. Kor Fai (ก็ฝั่้าย) produces natural cotton products and promotes community tourism in Baan Na Chok. Community tourism enables local residents to share resources with visitors for the sustainable benefit of both the community and the natural environment. As a plateau and drought area of Sakon Nakhon Province, Baan Na Chok is used for Dyeing Group, have used locally available resources such as buffalo manure creatively, to experiment with organic dyeing processes. They have developed both agricultural and community tourism, creating a successful complementary experience alongside their Kor Fai cotton products.

Hoop Thame (ฮ้ป์แตม) specialises in Isan graphic design, prints, craft and book-making.  Mr umnart Sunaprom (คุณอำานาจ สุนาพัรม), a graphic design lecturer at Sakon Nakhon Rajabhat University, experiments with natural materials  such as indigo dyeing on banana leaves, and  offers hand-dyed textiles and hand-bound book-making workshops.

Comment by Place Link on February 15, 2024 at 9:50am

Cha Ya Ta is an experimental studio that combines eco-printmaking with local hand dyeing and weaving. Cha Ya Ta Incha (คุณชีญิตว์ อินท่ร์ชีา) is an art educator at the School of Education, Roi Et Rajabhat University, and an expert in eco-printing. Her gelatin-printing techniques, which are sustainable and ecological, are taught through regular workshops at her studio.

Phukarm (ภ้คราม) is known for working with communities in the Phu Phan mountains to create hand-made textiles and embroidered floral patterns. Ms Pilan Thaisuang (คุณป์ิลันธน์ ไท่ยสรวง) is a returning resident who worked as a community historian in Bangkok. Since 2016, she has trained and worked with ageing local women weavers to enable their traditional designs to become contemporary products for different markets. 

Institutional Collaborations and Policy Instruments

Thai central government has supported the indigo-dyeing sector through various entrepreneurial-based development strategies since 2001, during Prime Minister Thaksin Shinawatra’s first period in office. The Ministry of Industry established ‘entrepreneur development units’ to activate business, while the project One Tambon One Product (OTOP) aimed to stimulate entrepreneurial development in rural areas. In 2004, the Sakon Nakhon provincial governor designated indigo-dyed textiles as the official symbol of the province.

The SUPPORT Arts and Crafts International Centre of Thailand (SACICT) was established by royal decree in 2003 to ‘promote and support the integration of vocations leading to the creation  of folk arts and crafts’.18 It has introduced quality standards and supports local craftspeople and entrepreneurs with training, branding, marketing, internationalisation, intellectual property and blending technological development with traditional practices. These measures were put in place at a time when the market for indigo products was saturated and many entrepreneurs were pushed out of business by competition.19

As a 18 result indigo entrepreneurs began developing distinct brands that communicated authenticity and the careful design of their products.20 In 2008, Kenan Institute Asia (K.I.Asia) introduced community capability development programmes to resource indigo textile production in Sakon Nakhon, supported by BEDO. Since 2011, the development of small and medium-sized enterprises in the textile industry – grouped under the name of Cloth Industry Cluster of Sakon Nakhon (CIC-Sakon, โครงการพััฒินากลุ ่มสิ  ่งท่อผู้ายอม ครามจังหวัดสกลนคร) – has been supported by the Department of Industrial Promotion. The project is hosted by Kasetsart University. Since 2012, BEDO and K.I.Asia have collaborated with CIC- Sakon enterprises, implementing the Developing Indigo-Dyed Textile Industry Corporation Project within the indigo-dyed textile industry cluster, covering the full supply chain from indigo and cotton farming to marketing.21 In 2017, with the support of Sakon Nakhon’s Chamber of Commerce, the local campuses of Rajabhat and Rajamangala universities, Silpakorn University  and the Association of South East Asian Nations (ASEAN) Handicraft Promotion and Development Association (AHPADA), Sakon Nakhon successfully applied to be nominated as a  Craft City by the World Craft Council.

Support Arts and Crafts International Centre of Thailand. (2016). Annual report 2015-2016.
19 Chanorn, C. (2019). Dialectics of cultural production: Branding indigo-dyed textiles in Sakon Nakhon, Thailand. Textile 17(3), 312–326
 20 Ibid.
 21 Ibid.

Comment by Place Link on February 14, 2024 at 8:01am

Networks

As a geographically dispersed creative district, networks and community groups play an important role in Sakon Nakhon. The Sakon Hed network consists of locally born creative producers and innovators that come together once a year. The 18 founding members grew up locally but moved away to other cities. They reconnected four years ago with the idea of creating a platform for local creatives and craftspeople to come together, and this resulted in the Sakon Hed festival, held annually since 2016. In recent years, the Sakon Hed network has increased awareness of arts, craft and creative enterprises to showcase their work. Their independent status, without affiliation with the government or corporations, allows them autonomy and freedom in curating the festival.

The Young Entrepreneur Chamber of Commerce (YEC) is a nationwide network with a local office in
Sakon Nakhon that supports businesses participating in the Sakon Hed festival. YEC is a network of second generation business people who run mostly small businesses in the area. One notable initiative by YEC is an annual fundraising run in December to build and develop children’s centres in Sakon Nakhon.

The annual Sakon Hed festival in 2019 at Farm Hug Annual Festivals Festivals have become important temporary hubs to draw dispersed creatives and artisans to Sakon Nakhon to meet, share and network. Many people featured in this case study are young, returning talents, having studied or worked outside Sakon Nakhon city. The main Sakon Hed festival brings together a unique mix of indigo-dyeing and sustainable farming products across the province.

‘Sakon Hed’ (สกลเฮ็ด) means ‘Sakon Nakhon made’ in the Isan language. The festival has been held every year in December since 2016, to champion community-made, locally sourced products and services. The event offers workshops, talks and networking opportunities for artisans and visitors, attracting exhibitors and tourists from all around the province and the country. The festival is grassroots and volunteer-led, without significant funding support from one entity. Contributions come in different forms, from in-kind support by musicians to sourcing bamboo needed for stall structures. The festival has grown in popularity, attesting to the dedication of the organisers, and moved to a larger location for 2019. It coincides with Christmas to take advantage of the festive seasonal holiday, when many people are travelling back home.

Throughout the year, other cultural and religious festivities take place. Communities from around Sakon Nakhon Province construct large models of Buddhist temples out of beeswax. These impressive constructions are loaded onto trailers and driven through the city during the annual Wax Castle parade that concludes the Wax Castle Festival (เท่ศ์กาลแห่เท่ียนพัรรษ์า), taking place every year in October at the end of Buddhist lent. The Wax Castle parade is the biggest event of the year and it is supported by the local government, temples and other organisations.

Building Social Capital in Sakon Nakhon

Sakon Nakhon’s social capital owes much to the family-like bonds between groups and friends, underpinned by a strong sense of community.

While geographically dispersed, the creative and cultural ecosystem of Sakon Nakhon is held together by shared values of respect for traditional wisdom, nature and sustainable development.

Key actors such as the Sakon Hed network, creative indigo producers and sustainable farmers were identified with characteristics such as being dedicated, generous, collaborative, innovative, experimental, heartfelt, flexible, a good listener, team worker, open minded, kind, good advisor, good at problem solving, hardworking and able to say sorry.

Strong Bonds for Bridging

Comment by Place Link on February 13, 2024 at 9:59am

Close relationships and collaborations are key drivers of creative activity in Sakon Nakhon and  are evident within the various communities in the province. Stemming from strong, intimate bonds, the indigo craft bridges different age groups and social identities. Skills are passed on between family members, and specific weaving patterns and dye recipes are developed within villages, which have an intimate relationship with the surrounding land, rivers, wetlands and mountains. 

Age-old bonds are seen in contemporary indigo brands such as Mae Teeta, Kram Thong and Mann Craft, discussed earlier. These family businesses have transformed indigo textiles from everyday, traditional products, bridging an emerging class of creatives looking to develop business in their hometown to reach a global market.

The Sakon Hed network offers the strongest example of family-like bonds that build bridging links. Sharing the same passion for returning home to reconnect, the founding members described their team as brothers, sisters and friends. The festival is an opportunity to expand the network and ‘make more friends’, turning strong bonds into bridging opportunities with other creative communities outside the province (see p. 111).

Collaboration is based on respecting differences  in taste and expertise, while carefully mediating and reaching consensus. Since Sakon Hed organisers do not conduct business together, there are no conflicts of interest or competition between them. Instead the focus is on creating a welcoming environment for the growing number of visitors.

The network has not relied on government funds or external influential partners to enable its growth. The success of the network and festival lies in this focus on collaborations and friendships, rather than just economic revenue. The organisers described the latter as a ‘social lubricant’, but not the main goal of Sakon Hed. What started as a family-like gathering has now become the largest independent festival in the province, where dispersed creative communities that live and work in bigger cities such as Chiang Mai or Bangkok come to meet, eat, drink and enjoy sustainable  and creative activities.

The power of the Sakon Hed network to connect with a diversity of creative groups is remarkable. The festival draws talents to Sakon Nakhon temporarily to reconnect with fellow creatives, while also inviting friends from other provinces such as Surin (จังหวัดสุรินท่ร์) and Phrae (จังหวัดแพัร่) to share and potentially collaborate. This maintains bridging relationships among mobile groups of creatives from different provinces and regions. Siaw Sakon, also known as the Friends of Sakon, is an extended network of friends involved in the organisation of the Sakon Hed festival. They travel from other regions in Thailand to join the festival as exhibitors and organisers. For example, Phrae Craft (แพัร่คราฟ้ท่์), a creative network from Phrae province in the north of Thailand, are also members of Sial Sakon and exhibit traditional craft products at the event. This is an exchange, as the Sakon Hed network also joined Phrae Craft’s creative festival from 6 to 8 December 2019. 

Many other groups, such as Folkcharm from Loei Province (จังหวัดเลย), and Charm-Learn Studio (ชีามเริญิ สต้ดิโอ) and Ruenrom Organic Living from Surin Province, participate at these events to share organic products, new soil-dyed cotton, ceramics and award- winning bento designs.

Comment by Place Link on February 11, 2024 at 12:31pm

These contributions have been perceived as top-down and less flexible than local, self-organised efforts to nurture the creative community. A study by Chanorn identified OTOP as successful in stimulating local entrepreneurship, but also reported how local artisans felt it introduced divisiveness and promoted business models that were antagonistic to the cooperative nature of many community groups.

Educational institutions provide considerable links to resources and opportunities outside Sakon Nakhon. Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus and Sakon Nakhon Rajabhat University have supported many projects that connect to public and private sectors, such as the example provided earlier where NSTDA commissioned Rajabhat University to develop the local dyeing and weaving industry.

Other examples include talks provided by experts during the Sakon Hed festival, such as Assistant Professor Tips Srisakunchaiyaruk (ผู้ศ์.ธิป์ ศ์รีสกุลไชียรัก) from Arsom Silp Institute of the Arts, on community development, and Ms Sirikun Lolpaikun (ดร.ศ์ิริกุล เลากัยกุล) from Brand Being, who shared her vision on branding community products. Sakon Hed talks were supported by the British Council Thailand, which also provided funding for online media production during the festival

Key Characteristics of Sakon Nakhon as a Creative District
Nature as a Driver of Creative Endeavours

Sakon Nakhon’s creativity draws upon the abundance of natural resources, attested by the indigo-dyeing and textile handweaving industry. Villages spread out in the Isan region cultivate this traditional craft. Many have made significant efforts to preserve the ancient craft, such as Mae Teeta, which rescued the seeds of two different varieties of indigo and grows them both to ensure their continuation. The revival of this craft in the 1990s, driven by renewed interest in organic and sustainable products worldwide, has also expanded the creative community to engage with agriculture and farming practices. The festival and network have given a platform for these industries in Sakon Nakhon to contribute to the creative and cultural richness of the area. This has expanded the scope of the cultural assets of the province to the forefront of contemporary life.

Sustaining and Developing the Dyeing and Weaving Craft Indigo-dyed products have recently started to make their way into Sakon Nakhon city centre, where shops are catering directly to collectors and consumers. Support from local universities with technical know-how has been crucial in introducing innovation to this labour intensive craft.

Opportunities to sell indigo-dyed textile products on a national and international scale is also emerging, sustained by efforts to establish quality standards and develop new modes of production, aided by branding, manufacturing and marketing support by various government initiatives. Newer indigo brands may communicate the indigo craft as a traditional practice as part of their message, but some, such as Mann Craft, focus on (re) discovering ways to extract pigments from different plants, creating new textile patterns produced artistically by weaving communities.

However, natural dyes and textile weaving are labour intensive, which justifies the high price of the more elaborate items. As the market becomes increasingly competitive, the sector must find ways to preserve its authenticity without impacting on product prices and, therefore, labour retribution.

Comment by Place Link on February 8, 2024 at 8:10pm

A Dispersed Creative Network

The Sakon Hed festival illustrates how a dispersed network of creatives can come together and build creative capital through active collaborations and connections. This network is unique, in that it is still very much grounded by a commitment to the place and its tradition, and shows that the creative life of a place doesn’t necessarily need to be permanently situated to bring about a rich creative milieu. While there is an increasing number of creatives – particularly fashion designers – returning to open new indigo-related businesses in the city, there are also many more returning creatives who use the Sakon Hed festival as an opportunity to draw inspiration and bring new ideas back into the creative life of Sakon Nakhon.

The festival is an example of a collaborative creative endeavour sustained by Sakon Nakhon’s creative diaspora.

Importance of Family Bonds and Networks

Family bonds and family-like networks have been key to the revival of indigo-dyed products, and continue to sustain the creative ecosystem of Sakon Nakhon. Generational businesses such as Mae Teeta or Kram Thong and Mann Craft highlight the importance of not just drawing on
traditional craft knowledge, but also joint family resources to support the development of new ideas.

The Sakon Hed network is very much established and reliant on blood ties and family-like bonds. For example, Teeta Janpengpen (of Mae Teeta) is the grandmother of Gypsy Janpengpen, a key member of the network. Gypsy Coffee Drip is located next to the Mae Teeta shop in Dong Mafai village. Other members of Sakon Hed may not be related to each other but have nonetheless developed family-like bonds through years of childhood friendship. External visitors such as Chamroen Studio from Bangkok are connected through Mr Gypsy, who consider him as a ‘brother’. These family-like bonds explain the ability of the network to attract many external organisations to participate, calling on goodwill that only family-like relationships can rely on.
Diversifying a Creative Ecosystem

The indigo dyeing and weaving industry have been the dominant driver of Sakon Nakhon’s creative ecosystem. Prolonged investment and support from various government initiatives has undoubtedly helped revive it and contributed to its success.

However, we have seen evidence of other creative activities emerging in the past few years that have diversified and strengthened Sakon Nakhon’s creative ecosystem. New creative businesses ranging from indigo-related products to sustainable agriculture and farm produce have illustrated how a creative district can continue to grow and evolve even without significant government support. Sakon Nakhon’s example shows how a creative district can build and extend on existing resources to achieve a more diversified and self-sustaining creative ecosystem

(Source: Creative and Cultural Districts in Thailand; May 2020; britishcouncil.or.th)

Comment by Place Link on January 31, 2024 at 12:08am

INSTITUT KEMAHIRAN TENUN PAHANG DIRAJA TENGKU AMPUAN BESAR MERIAM @ KOMPLEKS BUDAYA KG. PULAU KELADI PEKAN PAHANG

Institut Kemahiran Tenun Pahang DiRaja Tengku Ampuan Besar Meriam (IKTPD) bertempat di Kompleks Budaya Kg. Pulau Keladi, Pekan berhampiran dengan Rumah Kelahiran Tun Abdul Razak yang merupakan Perdana Menteri Malaysia Ke-2.

IKTPD adalah sebuah Institut yang menawarkan pengajian berteraskan pendidikan vokasional.


Konsep pendidikan di IKTPD memberi penekanan tujuh puluh (70) peratus dalam aspek kemahiran dan tiga puluh (30) peratus dalam bidang akademik.

Bagi meninggkatkan tahap kemahiran, para pelatih diberi peluang mengikuti latihan industri di perusahaan kraf yang berjaya.

IKTPD menawarkan program pengajian Sijil Seni Kraf Tenunan ( Tenun Pahang DiRaja ) secara sepenuh masa.

Matlamat

Perbadanan Kemajuan Kraftangan Malaysia memainkan peranan utama dalam memajukan industri kraf di negara ini. Matlamat penubuhan IKTPD ialah untuk melahirkan tenaga mahir bagi keperluan industri kraf negara agar warisan kesenian dan budaya tempatan terus kekal dan berkembang maju.

Visi

Menjadi pusat kecemerlangan pendidikan kraf yang dapat melahirkan tenaga mahir, usahawan kraf dan menjadi pusat rujukan, penyelidikan serta pemuliharaan warisan negara.

Misi

Menjana sumber manusia yang berkemahiran, berilmu, menguasai pengeluaran, peka pada warisan tradisi dan berketerampilan dalam bidang kraf melalui proses pengajaran dan pembelajaran, penyelidikan dan pembangunan bagi memajukan industri kraf tenun.

（Tel:09-422 1612；Emel : iktpd2010@gmail.com； www.kraftangan.gov.my）

延續閱讀：

文化特區專綫

愛墾纺織文創

馬來西亞針織廠商會

Comment by Place Link on January 30, 2024 at 10:52pm

恭喜安溪、德化！國家級榮譽！

根據《農業農村部辦公廳關於開展2022年全國休閒農業重點縣申報和監測工作的通知》（農辦產〔2022〕6號）要求，農業農村部公布了60個擬列為2022年全國休閒農業重點縣的名單，其中

泉州安溪榜上有名！

│安溪整合與茶文化相關的休閒農業景點，推出茶文化休閒景點線路。（來源：泉州農情）

近年來，圍繞「福建安溪鐵觀音茶文化系統」，安溪整合了與茶文化相關的休閒農業景點，推出了「鐵觀音發源地西坪→蘆田雲嶺茶莊園→中國茶都→大寶峰茶廠」的「海絲茶源·烏龍聖地」安溪茶文化休閒景點線路。

2022年全國休閒農業重點縣公示名單

北京市門頭溝區

北京市密雲區

天津市武清區

河北省沙河市

河北省衡水市冀州區

山西省盂縣

山西省高平市

內蒙古自治區克什克騰旗

內蒙古自治區莫力達瓦達斡爾族自治旗

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