PENGENALAN

Perkembangan semasa ekonomi global menunjukkan industri kreatif adalah salah satu sumber penting pertumbuhan ekonomi dan percambahan budaya di negara-negara maju. Contohnya, industri ini telah menyumbang sebanyak USD$3 trilion kepada Keluaran Dalam Negara Kasar (KDNK)
Amerika Syarikat. Dalam perspektif ekonomi dan sosiobudaya Malaysia, industri kreatif telah memberi sumbangan sebanyak RM9.4 bilion kepada KDNK negara pada tahun 2008 dan berpotensi menjana ekonomi berpendapatan tinggi serta memartabatkan budaya bangsa. Justeru, amat penting industri ini dibangunkan secara bersepadu dan terancang melalui satu dasar dan hala tuju yang komprehensif.

Menyedari hakikat kepentingan industri ini, Kementerian telah mengadakan Persidangan Industri Kreatif pada 17 Mac 2009. Antara perkara yang menyentuh industri ini adalah ketiadaan penyelarasan dan dasar yang jelas tentang pembangunan industri kreatif di negara ini. Oleh yang demikian, satu dasar industri kreatif perlu diwujudkan bagi menjelaskan hala tuju dan
pembangunan industri kreatif negara.

Bagi tujuan ini, Dasar Industri Kreatif Negara (DIKN) digubal sebagai dasar induk untuk menetapkan prinsip-prinsip asas pembangunan industri kreatif. Dasar ini akan menjurus dan memacu segala kegiatan kreatif secara lebih
produktif dan ekonomik melalui sinergi sektor awam dan swasta.

Komitmen daripada kepimpinan tertinggi negara ini terkandung dalam pembentangan Bajet 2010 oleh YAB Perdana Menteri:

“Dalam memacu negara ke kemuncak kemajuan, kreativiti dan daya pemikiran di luar kotak perlu dicambah dan dirangsangkan. Lantaran itu, industri kreatif wajar dimajukan lagi untuk menyumbang kepada pertumbuhan ekonomi negara. Industri ini meliputi seni persembahan dan muzik, reka bentuk, animasi, pengiklanan dan pembangunan kandungan. Bagi menyelaras perkembangan pelbagai segmen dalam industri ini, Kerajaanakan:


DIKN berupaya membuka lebih banyak peluang kepada pelbagai kumpulan karyawan sedia ada, generasi akan datang dan industri-industri sampingan untuk mencetus lebih banyak idea, kreativiti dan inovasi yang boleh dikomersilkan. Ini selaras dengan semangat dan cita-cita Gagasan 1 Malaysia, ‘Rakyat Didahulukan, Pencapaian Diutamakan’ ke arah pencapaian Wawasan 2020.

Beberapa mesyuarat disusuli dengan siri bengkel telah diadakan bagi membincang pembentukan dasar ini. Beberapa dokumen telah dijadikan sumber rujukan bagi membentuk dasar ini, antaranya adalah:

(i) Dasar Perfileman Negara;

(ii) Dasar dan Strategi Pembangunan Industri Muzik Negara;

(iii) Kajian Separuh Penggal Rancangan Malaysia Kesembilan 2006-2010;

(iv) Draf Dasar Strategi dan Program Pembangunan Kandungan Negara;

(v) Draf Dasar dan Strategi Pembangunan Industri Kreatif Seni Budaya dan Warisan (Kementerian Kebudayaan,Kesenian dan Warisan); dan 

(vi) Memorandum Daripada Persatuan Persatuan Pengeluar-Pengeluar Filem Malaysia (PFM) mengenai Pembangunan Industri Perfilemandan Kandungan Negara.

DEFINISI INDUSTRI KREATIF

Industri kreatif ialah industri-industri yang melibatkan kreativiti individu, keterampilan, dan bakat yang mempunyai potensi menjana kekayaan serta penciptaan peluang pekerjaan melalui penggalakan dan eksploitasi harta intelek.

Hasil penelitian industri kreatif daripada negara-negara maju seperti United Kingdom, Singapura, Korea Selatan, New Zealand, Australia dan UNESCO, definisi industri kreatif dalam konteks Malaysia ialah penggemblengan dan penghasilan kebolehan dan bakat individu atau berkumpulan berasaskan kreativiti, inovasi dan teknologi yang menjurus kepada sumber keberhasilan ekonomi dan pendapatan tinggi kepada negara dengan memberi penekanan kepada aspek karya dan hak cipta intelek selaras dengan budaya dan nilai-nilai murni kepelbagaian kaum di Malaysia.

Dengan kata lain, industri kreatif merujuk kepada seni untuk ekonomi yang melibatkan individu-individu berbakat, pihak korporat dan seterusnya memberi implikasi kepada negara dari segi pendapatan dan imej negara.

LINK:  http://www.kkmm.gov.my/pdf/dikn.pdf

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Comment by MalaysianCinema on October 23, 2022 at 8:25am

SHINING THE SPOTLIGHT ON CREATIVITY

Malaysia’s rapidly maturing digital creative industry, which includes animations, movies, and video games, is proving to be a significant growth driver to the nation. 

MDEC has introduced initiatives to boost our digital content creators, allowing them to better realise their potential by providing them with essential tools and knowledge. This results in locally made content that is now captivating a worldwide audience.


Vfx Meaning


Define visual effects and VFX meaning 

VFX stands for visual effects, which can be shortened to visual FX. The use of visual effects in movies and TV has increased exponentially over the past few decades. What used to be reserved for spectacular science fiction movies and big-budget action movies can now be found in your everyday Rom-com. 

There are three main types of VFX that we'll explain in a minute. But before we show you some examples, let’s define visual effects.

Visual effects (VFX) is a term used to describe imagery created, manipulated, or enhanced for any film, or other moving media that doesn't take place during live-action shooting. VFX often involves the integration between actual footage and this manipulated imagery to create realistic looking environments for the context. These environments created are either too dangerous to actually shoot, or worlds that just don’t exist. They use computer-generated imagery (CGI), and particular VFX software to make it happen. VFX producers communicate with directors and cinematographers to determine which scenes require them to shoot with green screens.

Visual effects are different from special effects because visual effects require a computer and are added in after shooting. Special effects, or SFX are realized on set — they are things like purposeful and controlled explosions, fake gunshot wounds, etc.

An example of VFX would be the dragons flying through the sky in Game of Thrones, or a spaceship flying through space in Star Wars.


COMMON VFX SOFTWARE:


Adobe After Effects

Maxon Cinema 4D

Autodesk Maya

Syntheyes

3Ds Max

Houdini

Boujou

Mocha

Nuke

Comment by MalaysianCinema on October 20, 2022 at 8:23am

Museum CCI: Bring Learning to Life at The Weald & Downland Living Museum

Our award-winning museum is a great place for a visit! We welcome learners of all ages and abilities and hold both the Sandford Award for Heritage Learning and the Learning Outside the Classroom Quality Badge.

With a focus on our rural heritage and its relevance today, our engaging programmes bring the past to life through unique stories, immersive, hands-on workshops, outdoor learning, and the chance to explore our fabulous site with buildings from the Anglo-Saxon to the Edwardian era.

Comment by MalaysianCinema on October 19, 2022 at 9:04am

A vital component in realizing cultural rights, including freedom of expression and participation in cultural life, is supporting cultural actors. This includes those working in the creation, production, and distribution of, as well as access to, expressions of culture.

So, with 2021 being the International Year of Creative Economy for Sustainable Development, IFLA has explored how libraries open the door to cultural participation and make space for cultural diversity.

This includes work to do so by providing access to lifelong learning opportunities and addressing gaps in the ability to participate in culture on digital platforms, as well as fostering environments where diverse cultural expressions are encouraged, valued, shared, and protected.

To prepare this overview, IFLA engaged with several of our Professional Units and carried out desktop research to find concrete examples of how libraries put these values into action. We have found examples ranging from libraries participating in national cultural strategies to carrying out community-level programmes. Some examples help elevate established creators, while others create spaces where new creators can explore and grow.

Let’s take a deeper look at how libraries can act as incubators of creativity and the creative economy in their national contexts.

Libraries as Partners: Contributing to Government Initiatives

Brazil: National Reading and Writing Policy

In 2018, the Brazilian Special Secretariat for Culture established, within the National Reading and Writing Policy, a permanent strategy to promote books, reading, writing, literature, and publicly accessible libraries (Law No. 13,696/2018) [source].  The Brazilian National Library Foundation is engaged as a partner in this strategy.

The Policy’s objectives include promoting access to books and reading, disseminating Brazilian literature, and valuing and encouraging national authors with an emphasis on bibliodiversity.

Initiatives carried out within this framework have helped stimulate the creative economy by supporting national authors through funding and participation in international literacy fairs.

For example, in 2018, a public call for original works in Portuguese on select themes regarding the history of Brazil was circulated. Fifty works were selected for funding, which contributed to promotion and dissemination efforts.

Colombia: Reading Colombia

The National Library of Colombia partnered with the Ministry of Culture, Vice-ministry of Creativity and Orange Economy and the Colombian Book Chamber on the “Reading Colombia” strategy [source].

A key focus of this strategy was to support the distribution of works by national authors in the international market in order to help increase visibility of contemporary Colombian writers.

In 2018, the scheme awarded 12 scholarships to support translation of the work of Colombian authors into six languages​. In 2019, this increased to 50 works of Colombian literature.

Ireland: Decade of Centenaries Programme

The Decade of Centenaries 2012-2023 has been an ongoing programme administered by the Irish Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media to commemorate the 100-year anniversary of the most difficult and transformative period of Irish history, 1912-1923.

The National Library of Ireland is partnering with Department and the Decade of Centenaries Programme to appoint a poet in residence to engage with this theme and create original works [source].

This year-long post is supported by a stipend. During this time, the poet will not only create original literary works, but contribute to masterclasses for practitioner-led, experimental or interdisciplinary programmes, participate in workshops to help engage new audiences with the Library’s collections, and work to develop good practice outreach models to connect their creative works with a public audience.

United States of America: Library of Congress National Book Festival

The National Book Festival is hosted annually by the Library of Congress, the national library of the USA. Over past years, more than 100 authors, poets, and illustrators had the opportunity to connect with over 200,000 attendees for book talks, discussions, book signings and other engaging activities.

This has historically been the largest annual literary gathering held in the nation’s capital but in 2021 will reach a much wider audience through a hybrid in-person / online programme.

Content will be available through videos on-demand, author conversations in real time and live question-and-answer sessions, as well as a podcast series, a national television special, and in-person events at the Library.

This Festival will also engage authors from across the 50 states, the District of Columbia, Puerto Rico and the U.S. Virgin Islands, who are each invited to choose a book to represent their state or territory’s literary heritage. The Library of Congress will amplify these authors by holding conversations to discuss their books and what they mean for each State or Territory.

 

Libraries as Hosts: Artists in Residence

Jamaica: National Library of Jamaica Poet Laureate Programme

The Poet Laureate selected by the National Library of Jamaica carries out a three-year term, during which time he or she is tasked with stimulating a wider appreciation for Jamaican poetry. During this time, the Poet Laureate also helps encourage public involvement in poetry and spoken word arts, including by involving young people in appreciating and writing poetry. The scheme supports the poet during their term through a grant [source].

Within this programme, the Poet Laureate presents their own creations both locally and abroad, is involved in national events, and carries out participatory programmes to encourage developing poets, such as poetry competitions and school poetry reading tours [source].

 

United States of America: University of California San Francisco Library Artist in Residence program

This programme, carried out by the University Library, invites artists to promote health humanities through creative use of the historical materials preserved in the Library’s Archives and Special Collections [source].

The current Artist in Residence, Farah Hamaden, is a biomedical illustrator and animator, whose interactive storytelling project, “The City is a Body”, seeks to collect and bring to life San Franciscans’ experiences during the COVID-19 pandemic. Find out more about her project here.

 

Singapore – The National Library Board Creative Residency

This programme invites creatives from all different artistic disciplines to use the National Library Board’s collections to inspire their own works, and to reimagine them in ways that help engage a wider community with the collection [source].

Creative work produced in this role can take the form of videos, publications, literary works, artworks, musical compositions, or more. The 6-month post is supported by a stipend, and is open to all Singapore-based creative practitioners (individuals or collectives) working in any discipline or form of expression to apply.

Libraries as Enablers: Supporting New Creators

Trinidad and Tobago – NALIS First Time Authors Programme

National Library and Information Systems Authority (NALIS) highlights first-time authors of Trinidad and Tobago nationality or descent through their First Time Authors Programme [source].

Held on World Book and Copyright Day, this programme celebrates the accomplishment of first time authors, encourages new national writers, and raises public awareness of issues relating to intellectual property and copyright.

During the annual ceremony, national first-time authors of all genres are presented with appreciation tokens and their work is promoted online. See a recent example here.

Australia: Yarra Plenty Regional Library Maker Spaces and Maker Month

Yarra Plenty Regional Library (YPRL), a public library service located in Melbourne, Australia, has established Maker Spaces in 6 of their 9 branches. These spaces allow users to create, connect, collaborate, and learn in a fun and supported environment, and specialise in areas of textile and craft, mental health, gardening, writing and publishing, science and technology, and design

In 2020, the library launched a month-long, region-wide Maker Month programme. This went beyond the Maker Spaces, with a focus on entrepreneurs and events to support and empower those starting out in business or making the leap from hobby to “side hustle”.

This addressed an identified gap for support systems aimed at such microbusinesses, with many not knowing where to start in launching their own creative small business. Built on community feedback, the programme offered local makers opportunities to connect and network, get creative, and upskill. It provided tools to learn about business needs – from developing their idea to running and marketing their business.

Although hampered by the outbreak of the pandemic, many programmes were held online. These included topics such as: Using WordPress to make your own webpage, How and why to create digital content for your business, and How to plan for small businesses.

A number of sessions, including Turning Your Passion into Profit and How to Market Your Business Using Social Media continue to run in an online format.

The library is planning a smaller-scale Maker Month for July 2021, with a mix of online and in-person events including 90-day Business Planning and is launching a co-working space which will have an ongoing focus on business support.

****

This is just a look at different ways libraries can make a difference for creative actors, connecting them with opportunities to create, elevating and promoting their work, and encouraging learning and exploration.

Through their position in the social fabric and their role as champions of access to information and freedom of expression, it is clear that libraries are an essential piece in a thriving creative economy.

Through examples such as these, libraries contribute to the fulfillment of cultural rights and link them to economic opportunity for creative actors – both of which are needed to enable sustainable development.

This list is by no means exhaustive – we welcome additional cases from all types of libraries around the world! Send your stories to: claire.mcguire@ifla.org

Comment by MalaysianCinema on October 18, 2022 at 8:18am

Behind the growth of Malaysia’s digital creative content startups by Stefanie Yeo

Many things come to mind when one thinks about Malaysia. The country is a key producer of rubber and palm oil, an industrial powerhouse, and a popular tourist destination. But it is also the home of a booming digital creative content scene.

In 2020, Malaysia’s gaming market stood at US$786 million, which made it the third largest in Southeast Asia. Its animation industry was valued at over US$1.6 billion in the same year, with exports in the sector standing at over US$285 million, doubling from 2014. Local animation studios also produced more than 65 original pieces of intellectual property, creating nearly US$40.5 million in export value and expanding its presence to more than 120 countries.

The products of Malaysia’s digital creative industry have also received recognition around the world. Programs such as Upin and Ipin, which explores the adventures of two twin brothers, and Mechamato, which revolves around a boy and his robot companion, have reached global audiences. Meanwhile, games like multiplayer arena brawler GigaBash and action-adventure title No Straight Roads have won accolades at international competitions.

In 2020, Malaysia’s gaming market stood at US$786 million, which made it the third largest in Southeast Asia. Its animation industry was valued at over US$1.6 billion in the same year, with exports in the sector standing at over US$285 million, doubling from 2014. Local animation studios also produced more than 65 original pieces of intellectual property, creating nearly US$40.5 million in export value and expanding its presence to more than 120 countries.

The products of Malaysia’s digital creative industry have also received recognition around the world. Programs such as Upin and Ipin, which explores the adventures of two twin brothers, and Mechamato, which revolves around a boy and his robot companion, have reached global audiences. Meanwhile, games like multiplayer arena brawler GigaBash and action-adventure title No Straight Roads have won accolades at international competitions.

First, the digital creative industry has been put forward as a key driver of the post-pandemic economy in Southeast Asia. This is a result of rapid digitalization and a growing generation of millennials and Gen-Z consumers who value experiences and entertainment, alongside an even greater demand for digital content globally.

Second, digital creative content provides a way for many key skills in tech to be utilized.

“Digital content is based on established digital creative skills and tech, such as programming, design, art, and narrative construction,” explains Aziz. “Not only does it help train essential base skills, it also allows room for innovation and creates opportunities to explore use cases for new tech, such as virtual reality, augmented reality, and blockchain.”

First, the digital creative industry has been put forward as a key driver of the post-pandemic economy in Southeast Asia. This is a result of rapid digitalization and a growing generation of millennials and Gen-Z consumers who value experiences and entertainment, alongside an even greater demand for digital content globally.

Second, digital creative content provides a way for many key skills in tech to be utilized.

“Digital content is based on established digital creative skills and tech, such as programming, design, art, and narrative construction,” explains Aziz. “Not only does it help train essential base skills, it also allows room for innovation and creates opportunities to explore use cases for new tech, such as virtual reality, augmented reality, and blockchain.”

Building up a digital creative economy

Given the potential of the digital creative content industry to drive Malaysia’s digital economy, the nation has rolled out several initiatives to help support its growth.

MDEC is leading the Malaysian government’s efforts through the Digital Content Ecosystem (DICE) policy under the Ministry of Communications and Multimedia, which focuses on attracting investments, building up local talent and companies, and strengthening the ecosystem through government and private sector partnerships.

According to Aziz, MDEC’s support of the government’s DICE policy will take form across four areas, namely business development, creative skills and talent, digitalization, and research and partnerships. These include competitions and business-matching opportunities, as well as access to a number of strategic investments and grants to help fuel the growth of local companies.

One Malaysian startup that has benefited from MDEC’s support is content development firm The R&D Studio.

In 2017, the startup participated in MDEC’s Intellectual Property Creators Challenge (now known as the Digital Content Creators Challenge) and won the competition, receiving a 75,000 ringgit (US$17,800) grant to produce its short film Batik Girl. The movie went on to premiere in 17 countries, receive official selections in 28 international film festivals, and win awards in Chile, Japan, and the US.

Aside from the support available in its home turf, The R&D Studio was also able to take advantage of opportunities that MDEC offers to local animation companies that aim to go abroad and tap into new markets.

Alongside two other startups Zappy and Durioo, The R&D Studio exhibited at the Malaysia Pavilion during Expo 2020 Dubai, which was held in January this year. Through the event, the firm was able to exhibit Batik Girl to an even broader audience while connecting to potential clients in the Middle East.

Expo 2020 Dubai also opened up opportunities for Zappy and Durioo. Zappy has worked with a local government in the Middle East on an animation project and is in talks with several companies in Dubai. Meanwhile, Durioo has connected with broadcasters in the Middle East and North Africa to bring its Islamic children’s content to wider audiences.

[Having these startups participate] in Expo 2020 Dubai allows us to give them exposure to global markets, as well as bring the brand name of Malaysian digital content space to the wider audience,” says Aziz.

From Malaysia to the world

The CEO is bullish about the future of Malaysia’s digital creative content economy.

“The future looks good, as is evident by the success seen by startups in the space,” shares Aziz. “These startups represent the funnel of new creators entering the space and are the lifeblood of creativity, and earlier studios have paved the way for other entrants to enter the field.”

“The future looks good, as is evident by the success seen by startups in the space,” shares Aziz. “These startups represent the funnel of new creators entering the space and are the lifeblood of creativity, and earlier studios have paved the way for other entrants to enter the field.”

MDEC will continue to fuel the growth of the country’s digital creative industry, both through supporting startups and developing the necessary talent for keeping the sector going.

“These initiatives will help provide a strong foundation for our growing industry and ensure that there isn’t a lack of talent,” Aziz explains. “With steady flow of talent, infrastructure, and consistent government grants and initiatives, the gaming and animation industry will be able to not just profit, but also fuel the growth of Malaysia’s digital economy.”

As Malaysian content continues to cross borders, the CEO is confident that the country’s startups will be able to reach consumers all over the world.

“As the global audience expands their taste for diverse content, Malaysia with its culture-rich and diverse population would be able to deliver content that is different and unique,” he says.

Currency converted from Malaysian ringgit to US dollar: US$1 = 4.23 ringgit.

(26 Apr 2022 https://www.techinasia.com)

Comment by MalaysianCinema on October 18, 2022 at 8:00am

Anticipating 2022 for the Malaysia Creative Industry

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.

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

“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.

Learn more about CENDANA’s Art In The City with KLWknd taking place this 25-28 November 2021 and SENSORii taking place from 1-28 December 2021 via www.baskl.com.my/aitc.

(Published: Nov 23, 2021 @ https://www.malaysiakini.com/advertorial/600310)

Comment by MalaysianCinema on October 15, 2022 at 10:48am

Internet use in Malaysia in 2022

There were 29.55 million internet users in Malaysia in January 2022.

Malaysia’s internet penetration rate stood at 89.6 percent of the total population at the start of 2022.

Kepios analysis indicates that internet users in Malaysia increased by 365 thousand (+1.3 percent) between 2021 and 2022.

For perspective, these user figures reveal that 3.43 million people in Malaysia did not use the internet at the start of 2022, meaning that 10.4 percent of the population remained offline at the beginning of the year.


Social media statistics for Malaysia in 2022


There were 30.25 million social media users in Malaysia in January 2022.

The number of social media users in Malaysia at the start of 2022 was equivalent to 91.7 percent of the total population, but it’s important to note that social media users may not represent unique individuals (see our detailed notes on data to learn why).

Kepios analysis reveals that social media users in Malaysia increased by 2.3 million (+8.0 percent) between 2021 and 2022.


YouTube users in Malaysia in 2022

Updates to Google’s advertising resources indicate that YouTube had 23.60 million users in Malaysia in early 2022.

This figure means that YouTube’s 2022 ad reach was equivalent to 71.6 percent of Malaysia’s total population at the start of the year.

To put those figures in perspective, YouTube ads reached 79.9 percent of Malaysia’s total internet user base (regardless of age) in January 2022.

At that time, 47.5 percent of YouTube’s ad audience in Malaysia was female, while 52.5 percent was male.(Source: https://datareportal.com/reports/digital-2022-malaysia

Comment by MalaysianCinema on October 14, 2022 at 11:04am

Malaysia’s population in 2022

Malaysia’s total population was 32.98 million in January 2022.

Data show that Malaysia’s population increased by 408 thousand (+1.3 percent) between 2021 and 2022.

48.6 percent of Malaysia’s population is female, while 51.4 percent of the population is male.

At the start of 2022, 78.2 percent of Malaysia’s population lived in urban centres, while 21.8 percent lived in rural areas.


Note: gender data are currently only available for “female” and “male”.


Malaysia’s population by age

The median age of the population in Malaysia is 31.0.

For additional context, here’s a look at how the population in Malaysia breaks down by age group:

8.0 percent of Malaysia’s population is between the ages of 0 and 4.

12.2 percent of Malaysia’s population is between the ages of 5 and 12.

7.5 percent of Malaysia’s population is between the ages of 13 and 17.

11.7 percent of Malaysia’s population is between the ages of 18 and 24.

17.6 percent of Malaysia’s population is between the ages of 25 and 34.

15.6 percent of Malaysia’s population is between the ages of 35 and 44.

11.1 percent of Malaysia’s population is between the ages of 45 and 54.

8.5 percent of Malaysia’s population is between the ages of 55 and 64.

7.7 percent of Malaysia’s population is aged 65 and above.

Note: percentages may not sum to 100 percent due to rounding.


Source: https://datareportal.com/reports/digital-2022-malaysia

Comment by MalaysianCinema on October 12, 2022 at 10:22am

Looking at the Malay World Through Textiles – The Azah Aziz Collection

When we talk about the Malay World, we often think of the Malays living predominantly in Malaysia, Indonesia, Brunei and Singapore who speak Malay and live a Malay based culture, tradition, and lifestyle. What do textiles tell us about the Malay world? Is it a different Malay world than we imagine?

When we look at the map of the Malay world, do we think of the Malay world when we see Flores, Sumba, Maluku and Banjarmasin? What about Visayan, Luzon and Mindanao? The Malay race has also been recorded living in Taiwan and Madagascar.Recently, we had the privilege of accessing a textile collection of a well-known champion of Malay culture, the late Azah Aziz. The bulk of the textile collection is currently at Muzium Seni Asia or Museum of Asian Art.

Whilst the Asian Art Museum is located at the University of Malaya, Kuala Lumpur, historically, it began life as a museum in 1955 as the University of Malaya Art Museum in Singapore. The late Royal Professor Dr. Ungku Aziz (who is married to Azah Aziz) as Vice Chancellor expanded the museum after 1963 when Malaysia was separated from Singapore. William Young Willett became the first Museum Director in 1973 and curated the museum collection for the next 10 years. The museum is now home to over 7000 artifacts from Asia including textiles, ceramics, stone sculptures and it claims to have the world’s largest collection of water vessels. (https://senijari.wordpress.com)

         ‘Alam Melayu’ Map ( courtesy of the Islamic International University website)

Comment by MalaysianCinema on October 10, 2022 at 9:02pm

National Craft Day helps to revive country’s economy

HKK 2022 successfully brings together more than 300 entrepreneurs and craft communities from all over M’sia

by AUFA MARDHIAH / Pic by BERNAMA

THE Tourism, Arts and Culture Ministry (Motac) through Kraftangan Malaysia organised the annual National Craft Day (HKK) 2022 programme from Feb 23 to March 7, 2022.

Aligning with the theme “Kraf Mewarnai Keluarga Malaysia”, the event depicted the uniqueness and beauty of Malaysian craft from various racial and ethnic backgrounds, as well as generating income through the production of craft products in line with the government’s aspirations in reviving the country’s economy.

According to Motac Minister Datuk Seri Nancy Shukri, HKK 2022 can indirectly give recognition to the involvement and contribution of entrepreneurs, craft community and craft activists in the development of the country’s craft industry.

“The event can also bring together craft entrepreneurs nationwide to market and display local handicrafts with a variety of the latest designs and modern and contemporary tastes,” she said at the event yesterday.

The programme successfully brought together more than 300 entrepreneurs and craft communities from all over Malaysia with various fields such as textile crafts, jungle crafts, metal crafts, land crafts with various products for sale and promotional activities.

Several exhibitions were also featured such as the Raja Permaisuri Agong’s Clothing Collection exhibition, National Craft Figure Exhibition 2022, Special Exhibition: Queen of Cloth (Songket Textile); MYCRAFTSHOPPE


Exhibition, National Craft Institute Exhibition, Weaving Craft Art exhibition, New Product exhibition, Craft Community Product exhibition as well as Craft Figures and Dioramas of Traditional Craft Making Techniques.

There were also demonstrations of Kembang Api Crafts and demonstrations of Malaysian Family cuisine, craft seminars, interactive crafts such as weaving, batik, creative craft studio and Adiguru Craft Exploration, art performance, fun craft batik dying and dipping.

Yesterday was the climax of HKK 2022 where the Buy, Spin and Win prize giving ceremony was officiated by Malaysian Handicrafts, Malaysian Handicraft Development Corp DG Aididah Ibrahim.


According to Aididah, the event was not only centred at the Kuala Lumpur Craft Complex but also took place throughout Malaysia through the National Craft Festival at seven shopping malls nationwide.

“Currently we have already achieved a total of 30,000 visitors and are nearing the sales target of RM10 million.

“The final target has yet to be finalised on the closing day tomorrow (today), but we are very positive that we can achieve the target for HKK 2022,” she said.


Ten lucky visitors who made a purchase of RM500 and above were selected to attend the MYCRAFTSHOPPE Buy, Spin and Win “Lucky Roulette” prize giving session and stood a chance to win various prizes including the grand prize of a Honda RSX 150 motorcycle worth more than RM10,000.

In addition, visitors who purchase craft products during HKK 2022 at the Kuala Lumpur Craft Complex as well as at the National Craft Festival 2022 all over Malaysia can get a cash voucher offer of RM30 for each purchase in multiples of RM100. (Monday, March 7th, 2022 https://themalaysianreserve.com )

Comment by MalaysianCinema on October 10, 2022 at 7:32am

Sarawak to launch blueprint to becoming leading digital economy by 2030

(Hailey Chung / theedgemarkets.com June 21, 2022 )

KUALA LUMPUR (June 21): Sarawak’s Digital Economy Blueprint will set out the roadmap for the state to secure its future as a modern and leading digital economy and society by 2030, said state premier Tan Sri Abang Johari Tun Openg. 

The blueprint, the foundation to the state’s Post Covid-19 Development Strategy 2030, builds on Sarawak's existing Digital Economy Strategy 2018-2022 and will be underpinned by the United Nations Sustainable Development Goals, he said.

 

The Digital Economy Strategy 2018-2022, which was launched in December 2017, is coming to an end this year. 

Speaking at the 5th International Digital Economy Conference Sarawak (IDECS) 2022 in Kuching on Tuesday (June 21), Abang Johari said the digital blueprint will focus on nurturing an integrated ecosystem to foster inclusive digital society, building the right foundations to grow the digital economy, as well as fostering business growth and a vibrant technology sector.

 

It will also centre on capitalising on digital technologies to maximise digital value, and delivering simple, secure and trusted service, he said. 

“It will align with the national and global blueprints and recognises that the government plays an enabling role with focus on developing both public and private sector economies. The public-private and community partnership will provide a platform to bring about successful economic transformation,” added Abang Johari.

 

Former prime minister Tan Sri Muhyiddin Yassin launched the Malaysia Digital Economy Blueprint in March last year to drive the country’s high-income nation aspirations. 

Abang Johari said data centre infrastructure will be the force in the growth of the digital economy in Sarawak.

 

“This was very apparent during the Covid-19 pandemic when cloud computing technology enabled us to persevere and adapt to the new normal. Businesses, governments and end-users all depend on data centres to host, process, analyse and access their data. 

“The Sarawak government together with the private sector is actively planning to develop and adopt green data centres in the state. These data centres will become our primary repository for the Sarawak government data storage, management and dissemination,” he said.

 

The premier noted that Sarawak embarked on a digital economy in 2018 to shift its dependence on a non-renewable resources economy.

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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