愛墾網特寫·新冠肺炎:人文景觀

新冠肺炎在2020年1月間,還是叫“武漢肺炎”;全球的眼光聚焦於中國,特別是武漢。

兩個多月後,我們知道,它正威脅著地球表面上每一個人。這不是中國人的事,是每一個人類的事。


到今天,全球確證人數已接130萬人,從120萬人到130萬人,只是一天的事;不幸罹難者已逾7萬,從6萬到7萬,還不到48個小時。有的國家,在嚴酷的時刻,每小時有55人離開。

專家說,這還不是最壞的情況;沒有最壞,只有更壞。


被病毒盯上的,不只是生活條件一般的百姓,也包括皇儲、首相、球星與奧斯卡影帝等非貴即富。甚至已有著名演員過世。

最令人戰栗的是,專家透露,疫苗研發工作暫時還沒有任何成果。換句話說,暫無救藥。


在這人類生命受到挑戰的艱辛時刻,不忘企業社會責任而有能力的企業,開始分擔身為地球一份子的責任。以自己的形式,投進“抗疫戰鬥”。

其中,運動品牌New Balance盡管因爲賽事停辦而蒙受重創,毅然把座落於美國麻省的製鞋工廠,改為目前迫切需要的口罩。其口號令人動顏:Made shoes yesterday. Making masks today(見上圖)。體育界龍頭品牌Nike,也捐出了超過1,500萬美金作為援助。



另一方面,全球约三分之一國家鎖國封城,商業如零售及時尚領域處於停頓狀態.雖然如此,跨國奢侈品集團LVMH 旗下Perfumes & Cosmetics(見上圖)暫時停止生產香水,全面改為酒精消毒液生産线,免费提供给法國各地公立醫療單位。


GUCCI承諾捐出110萬個口罩以及5.5萬件防護衣;CHANEL及BURBERRY也投入口罩生産行列。意大利Zegna集團、美國的Ralph Lauren及ST. JOHN等名牌,為受疫情影響地區提供援助及撥款。



時尚刊物《Vogue》則與美國時裝設計師協會(CFDA)聯手發起名為“A Common Thread”(見上圖)的抗疫基金。

這種暫時擱下自家經濟困難,發揮能力範圍內和大家一起抗疫,是一道美麗的人文景觀。(愛墾網編輯部 公益報導)

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Comment by 馬來西亞微電影實驗室 Micro Movie Lab on June 12, 2020 at 2:18pm

“负责任旅游”·强化安全旅游品牌

杨顺兴(左二)巡视The Habitat,了解景点业者的准备工作。 杨顺兴(左二)巡视The Habitat,了解景点业者的准备工作。

(槟城8日讯)槟州旅游、艺术、文化及古迹委员会主席杨顺兴说,槟州是冠病疫情肆虐以来,全国首个落实“负责任旅游”机制的州属。疫情当前之际,他促请旅游业者予以配合,强化槟城“安全旅游”的品牌。

他说,“干净”和“安全”是槟城的品牌,也是游客有信心到此旅游的原因之一。疫情当前,各旅游景点须遵守标准作业程序(SOP),确保游客和员工的生命与健康不受威胁。

他说,“负责任旅游”倡导旅游业者、酒店业者、政府单位、当地人和游客的配合,将有关旅游景点打造成一个适合当地人居住、拜访,以及得以永续经营的景点。此理念于2002年在开普敦永续发展世界峰会召开期间被定义,从2007年起被全球旅游市场广泛接受,也制定了全球负责任旅游日。

“如今游客、政府和旅游景点业者须遵守立下的条规,以便有效抑制病毒传播。这不单是宣导防疫,也为建立游客访槟的信心。

“安全与卫生是赢取游客信任的重点。业者已做好万全准备,确保槟城旅游业能在对的时间点浴火重生。”

他今日联同槟州旅游景点业者公会(ATAP)主席庄学腾和虫鸣大地首席执行员吴家樑等人召开新闻发布会时发言。

鼓励推国内游优惠配套

杨顺兴也说,州政府早在全球旅游业受疫情影响而放缓前,就推出旅游复兴计划,通过数码、社交等各管道,守护槟城旅游品牌。

“我们4月起就通过各种圆桌会议,与旅游业者商讨对策。州政府也制定了槟州新常态行动小组和槟州旅游经济复苏顾问理事会,确保槟州旅游业能在新常态中顺利重启。”

强调安全和卫生的相关措施,相信能建立游客对到槟城旅游的信心。
强调安全和卫生的相关措施,相信能建立游客对到槟城旅游的信心。

他鼓励旅游、酒店和旅行社等相关行业携手,现阶段锁定国内旅游,推出优惠配套,如合理的短期周末旅游配套。

“或许上述措施短期内不会奏效,所以州政府提供免息贷款,缓解相关业者经济负担,确保他们能拥有足够资金重返轨道。之后州政府还会公布相关援助计划。”

景点制定防疫措施

杨顺兴说,州内许多景点已制定防疫措施,为新常态时代做好准备。

他昨天巡视升旗山The Habitat生态公园后指出,该景点在复原期行管令生效前已执行防疫措施,包括定期在园区实施卫生处理、消毒及检测体温等工作。

杨顺兴促请旅游业者疫情当前,遵守SOP,强化槟城“安全旅游”的品牌。
杨顺兴促请旅游业者疫情当前,遵守SOP,强化槟城“安全旅游”的品牌。

“据该生态公园管理层汇报,控制访客人数也是该园区其中的标准作业程序,以确保遵守保持安全社交距离防疫指南。”

他认为,旅游业者进入新常态的过渡期非常重要,以确保槟城的旅游业能够全面恢复。

庄学腾:盼州政府尽快宣布

庄学腾说,业者已准备好严守标准作业程序重开旅游景点。该会大约60名会员,过去2个月多面对零收入的困境,如今已全面做好准备再冲刺。

他说,6月10日起人民可跨州通行,槟州旅游业者已经等了2个多月,今已做好一切准备。在联邦政府亮绿灯后,他希望州政府尽快进一步宣布,允许他们复业。

邱武林:尽管本地旅游被允许,但受限于一些因素,预计现阶段不会迎来大量渡假旅客。
邱武林:尽管本地旅游被允许,但受限于一些因素,预计现阶段不会迎来大量渡假旅客。

邱武林:料迎较多商务旅客

另一方面,跟旅游业息息相关的酒店业者,早前已获准在遵守标准作业程序的条件下重开,但直到9日有条件行管令结束前,因受到跨州限制而无法招待度假客。

尽管6月10日起进入“复原期行动管制”,民众获准在国内旅游。马来西亚酒店业者公会槟城分会主席邱武林说,由于受限于一些因素,预计这项开放可迎来较多在工作线上的商务旅客,而度假旅客则不会多。

他今日接受《大北马》社区报记者电访问时说,人们10日起获准跨州旅游是好消息,但现阶段酒店内如游泳池等设施仍未亮绿灯,不能让旅客使用,这因素会影响要度假者。

杨顺兴(右起)、庄学腾、吴家樑(左一)等针对槟旅游业情况召开新闻发布会。
杨顺兴(右起)、庄学腾、吴家樑(左一)等针对槟旅游业情况召开新闻发布会。

“再说,人们去度假,基本上会安排行程。但是,目现阶段仍有一些特定景点未获准重开,那想度假的人难道只是呆在房间而已吗?”

质疑45分钟接1千订单

对于浮罗交怡旅游协会(LTA)首席执行员再努丁卡迪昨晚指在首相丹斯里慕尤丁宣布允许跨州旅游的短短45分钟内,浮罗交怡的酒店接到1000项订单,邱武林有所保留,并质疑于上述数据从何而来,因为要获得订房数据并不是那么简单的事,况且对方能够在数个小时内就获相关数据,实在令人难以置信。

“若要获得酒店的订房资讯,我们得跟业者接洽,而且不是所有业者会予以配合,随便给出数据。这当中也可能牵涉到竞争法相关的问题。通常统计工作需授权给第三方来做,而且要符合特定条件。不知道他的发言和数据,究竟是谁授权?代表谁?资料又是哪来的?”

他希望发出相关言论者要负责任,免得让酒店业的员工产生误解,误以为酒店业景象大好却仍需采取减薪等措施。他说,其实有一些酒店,现在还是选择延迟重开,保持观望的。

作者 : 刘雯诗
文章来源 : 星洲日报 2020-06-08
Comment by 馬來西亞微電影實驗室 Micro Movie Lab on June 12, 2020 at 2:14pm

檳城旅業公會:國內旅遊作用不大‧外國客才能救市

冠病疫情肆虐,酒店業陷入困境。(配圖)

(檳城10日訊)檳城旅業公會主席拿督林民利認為,政府放寬行動管制允許國人跨州及國內旅遊後,對振興檳州旅遊業的作用其實不大,而且可能引發酒店業削價的惡性競爭,迫使支撐不住的中小型酒店關門。


他建議,政府應考慮放寬疫情受控制的周邊國家及地區旅客入境觀光,如新加坡、泰國、香港及臺灣,甚至龐大市場的中國,方能帶動國內的旅遊業,檳州旅業才能從中從中受惠。

林民利建議,放寬疫情受控制的國家旅客入境,擴大國內旅業的市場量,有利於酒店業。


林民利就政府實行復原期行管令後,接受星洲日報《大北馬》社區報記者訪問時,這麽說。

他說,雖然冠病疫情放緩,但是國人對國內旅遊仍有所顧忌及擔心,只有商務人員因經商及公事,才跨州下榻酒店辦事,因此酒店房客人數不多,市場量有限。

“檳州酒店面對旅客稀少的困境之際,或被迫削價爭奪房客,如推出酒店房租‘買’、‘買一送二’及各種廉價配套,以吸引房客入住酒店。”

他說,其次是檳州酒店業尚須與國內熱門的景點如金馬侖、浮羅交怡、馬六甲等競爭,由於酒店營運成本提高,中小型酒店負擔不起將會倒閉。


他說,雖然政府暫停征收旅遊稅及服務稅,以減輕酒店業的經營負擔,但是對酒店業經營幫助不大,相反應擴大酒店業市場量,如吸引國外的旅客入境。

他說,環顧壹些國家如歐洲、韓國、中國及泰國等,疫情受控制後逐漸開放門戶讓旅客入境,可帶動旅遊業及刺激經濟的活動,這值得大馬仿傚,以期為檳州酒店業帶來強大的生機。(文章來源 : 星洲日報 2020-06-10)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on June 12, 2020 at 2:02pm

馬六甲旅遊業復蘇跡象‧酒店10天接4932預訂

自國內旅遊亮綠燈後,馬六甲酒店在過去10天就接獲4932間酒店客房預訂,顯示出旅遊業令人鼓舞的復蘇進展。

甲州文化、旅遊及遺產委員會主席拿督莫哈末再拉尼行政議員說,開齋節後一星期,州內多達20間三星至五星的酒店,開始接獲本地遊客訂房,而在首相丹斯里慕尤丁上周六宣布我國進入“復原期行管令”後,客房訂單即有更明顯的上升。


再拉尼說,州政府對此感到振奮,這意味著甲州旅遊業自疫情發生以來,有開始復蘇的跡象。

“這是我們始料未及的,這只是馬六甲酒店中的20間酒店負責人向州旅遊局報告的數據,不排除日後有更多酒店會提供他們所接獲的客房預訂量。”

再拉尼說,除了酒店外,其他旅遊景點也已經開始接獲訂單。

再拉尼是為“Melaka eXcess”主持推介儀式時,這麽表示。


推出App助提升定房量


他指出,當局推出的“Melaka eXcess”旅遊電商系統有助提升酒店訂房量,民眾可下載手機應用程式獲取許多旅遊資訊,也包括食品和日常用品。

“此系統開始發揮效果,尤其數家超市也表明加入售賣商品的意願。消費者可在此以便宜價格購買商品,從中受惠。”(文章來源 : 星洲日報 2020-06-12)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on June 11, 2020 at 6:26pm

ANDY CHUA:Over 100 Sarawak hotels are closing or have closed down

SIBU: Over 100 hotels in Sarawak have closed down or are in the midst of being wound up since the movement control order (MCO) came into force on March 18, says Malaysia Budget Hotel Association Sarawak Chapter's former chairman Lau Nai Meng.

Hotels have been badly hit as they were forced to close for two months – April and May – due to the Covid-19 pandemic, he said.

“Hotels have had zero income during these two months, and the bulk of a hotel's expenses are rental, the salaries of workers and the utility bills.

"Hotels have had to pay all of these expenses even though they had no income at all, ” said Lau.

Most of them were forced to close down for good as they failed to get discounts on the rental from their landlords, he added.

Lau's advice to hotel owners thinking of shutting down their hotels for good was to continue to negotiate on a discount with the landlords.

“I am of the opinion that businesses that were not allowed to operate during the MCO, like hotels should be exempted from paying rental as they had no income, and shops that were allowed to open but saw poor business should be allowed to pay 50% of the rental, ” he said.

According to Lau, some of the affected hotels could not apply for the wage subsidy programme due to complications in the Socso contributions of their workers.

Under the programme, Malaysians earning less than RM4,000 a month are eligible for the subsidies, with the amount being dependent on the size of the workforce of the company.

Companies that employ more than 200 people will receive RM600 per retained worker, while those employing between 75 to 200 employees will get RM800, and those with fewer than 75 employees RM1,200.

"I hope hotels who have yet to register their employees, who are either full-time or part-time staff with Socso, will do so for their workers' benefit," he said.

Correction: The story has been amended. Lau Nai Meng was erroneously referred to as chairman of the Malaysia Budget Hotel Association Sarawak Chapter. He is, in fact, a former chairman of the association. (The Star, Thursday, 11 Jun 2020)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on May 24, 2020 at 9:36am

疫後振興·國内遊契會
HO WAH FOON:New tourism trend to emerge post Covid-19

(A Quiet Kota Kinabalu,Picture by www.iconada.tv


IN the past 22 years operating China-Malaysia tours, businessman Datuk Keith Li had always looked forward to the Labour Day holiday for this was one of the “golden” times to bring in many Chinese travellers and big profits.

But for this year, there is no anticipation.

The raging coronavirus disease (Covid-19) pandemic engulfing more than 200 countries globally is forcing life, business, as well as tourism to a standstill.

With country lockdowns seen almost everywhere, most people cannot move from one place to another. Without passengers, leading airlines, including AIRASIA BHD, have to halt operations and are screaming for government help.

Hotels, another function of the tourism industry, are bleeding. Many empty hotels have closed their operations temporarily or for good, and workers have been asked to leave or take no pay leave.

Local hotels are estimated to have incurred total revenue loss of more than RM1.5bil since Malaysia imposed the movement control order in March.

In the local travel and tours segment, 30% to 50% of cash-tight travel companies have closed down while the more established ones are struggling, according to Li.

Sweet attraction: Li says in-bound tourism may start to recover only in October.
Sweet attraction: Li says in-bound tourism may start to recover only in October.

“My business has fallen from near zero in January to zero now. May golden week this year is hopeless for tourism. I have asked all my staff to take no-pay leave until business returns. In-bound tourism might start to recover only in October, ” Li tells StarBizWeek.

“Why October? International tourism is about bilateralism or multi-lateralism. Even if Malaysia is able to lift control soon, other countries may not. This is a global pandemic, not regional, ” the Chinese national explains in a WhatsApp interview.

Due to lingering concerns over safety, most would-be tourists are likely to choose domestic travel and nearby destinations once the pandemic is over.

A recent survey in China, which has wiped out its Covid-19 epidemic in March, showed that more than 90% of respondents would choose domestic tours in their immediate travel plans.

The booking statistics for the May golden holiday provided supporting evidence for the trend, said the survey jointly organised by the China Tourism Academy and Trip.com Group.

The survey report, published in China Youth Daily, was conducted on 15,000 people mostly aged 18 to 45, in nearly 100 cities across mainland China.

Taking cognisance of local tourists’ preference after Covid-19 crisis, China’s travel agencies – in their attempt to stay afloat – have diversified into selling delicacies to live-streaming culture talks that feature history and well-known personalities.

New landscape

Hong Kong Tourism Board (HKTB)’s chairman Y.K Pang sees a new tourism landscape after the pandemic, which has posed unprecedented challenges to industry players and put global tourism to a halt.

After a major HKTB-organised web seminar on April 24, Pang said in a statement: “The tourism landscape will be reshaped. In the post-pandemic world, we will see a shift in preference and behaviour among travellers – the public health conditions of destinations, and the hygiene standards of transportations, hotels and other tourism facilities will become a top priority.

“People will prefer short-haul breaks and shorter itineraries; wellness-themed trips will become a new trend. It is an ideal time for us to review and rethink Hong Kong’s position in the global tourism market.”

Last Friday’s tourism web conference was participated by 1,500 representatives from travel agencies, tourist sites, hotels, airlines, the retail and dining industries, as well as Meetings, Incentives, Conventions and Exhibitions and cruise sectors.

In discussing the future of short-haul tourism, speakers shared that domestic travel will be the major preference shortly after the pandemic. Outbound travel will resume soon after.Regional competition is seen to be fiercer than ever, as the tourism authorities and travel trade of various destinations and countries are now gearing up for intensive promotions.

Raymond Chan, HKTB’s regional director for South-East Asia, believes in the potential of the Muslim travel market.

He shared how HKTB has been stepping up its efforts to grow the Muslim travel segment as part of the recovery plan in South-East Asia.

It is learnt that mainland China is also attaching increasing importance to the Muslim segment to widen its reach.

The tourism seminar also heard that the young and middle-aged groups in Japan, South Korea and Taiwan would be the most eager to travel.

Green tourism and the outdoors will be favoured, while short-haul travel will be preferred due to financial constraints and lack of holiday leave days.

For the mainland Chinese market, which has gradually resumed economic activities, the seminar was informed that the Chinese will become more price-conscious and they will pursue value-for-money holidays.

“After prolonged confinement during the lockdown, most visitors will place greater emphasis on health and nature, ” said the HKTB statement.

When choosing destinations for future trips after the Covid-19 crisis, tourists will favour those that pose low risks to health.

The meeting and incentive market is expected to continue to slow down as many activities have been postponed or will be held online.

It may take a longer time for the long-haul markets to recover as governments are focusing on containing the outbreak within the region.

“A longer time is expected for these markets to recover and outbound travel may resume in the last quarter of this year at the earliest, ” said HKTB.

Within the region, HKTB expects Asian tourists to be the first to visit Hong Kong after the pandemic.

As consumer sentiment is more positive in Canada, France and Germany, outbound travel in these markets is expected to recover at a faster rate.

Vacations to be more expensive

Even though there is expectation that people may start travelling from the third quarter of this year, recovery may be slow.

A recent study by the University of South Florida revealed that 63.8% of travelers will reduce their travel plans in the next 12 months, according to an online report by Tourism Review News.

More than 50% of respondents surveyed by the US university had cancelled their business travel due to the coronavirus.

On the future of tourism, writer Kevin Eagan of Tourism Review News believes that “travelling will become a luxury again”.

“The coronavirus will probably make travelling more expensive and thus also more climate-friendly. Cheap flights at cut-rate prices will soon be the thing of the past. The future of tourism encompasses substantial changes, ” Eagan wrote.

He predicts the tourism industry will shrink by 50% in 2020, and this means a significant loss of jobs and revenue.

“As a result, it may be expected that the flight tickets will cost more, hotels will raise prices - travelling will probably become more expensive when the travel restrictions are lifted.

“The risk of infection with the coronavirus is reducing the available space: keeping a distance between people is expensive. Thus travelling becomes a luxury again, ” Eagan explained.

The immediate future will see empty rows of seats to prevent infection in airplanes and trains.

The International Air Transport Association (IATA) predicts that passenger numbers could fall by a third, and ticket prices could rise by half, if a “decongestion” were to be implemented.

But ultimately this would be determined by supply and demand, IATA boss Alexandre de Juniac was quoted as telling Tourism Review News.

Hence, future vocations will be expensive as tourists will have to pay more money for the same services. People without money will be left behind in the world of tourism. Now not everyone can fly.

www.thestar.com.my Saturday, 02 May 2020)

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on April 29, 2020 at 11:24pm

CREATIVITY IN THE AGE OF CORONAVIRUS

The outbreak of Covid-19 has shaken the world to its core, leaving the creative industries in an unprecedented situation. We catch up with creatives in quarantine, and explore the different ways that brands and studios are adapting.

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on April 29, 2020 at 10:38pm

Life after Covid-19: Can the show go on for Malaysia's performing a...

KLPac is planning to cut its audience capacity by half once the MCO is lifted. Photo: KLPac

It is no surprise that the Covid-19 pandemic and the subsequent movement control order (MCO) – now extended until April 28 – imposed by the government has left many casualties in its wake.

With many institutions forced to temporarily put down their shutters, the economic diagnosis is not looking so well for them.

One industry that is utterly devastated by this predicament is the performing arts industry. Indeed, performing arts venues and theatre companies solely rely on rentals, classes and ticket sales for their survival.

With almost no financial aid from the government and entirely dependent on sponsors, or sometimes even dipping into their own bank account, the fate of Malaysian theatre makers and their beloved arts scene does not seem promising.

Major theatre venues like the Kuala Lumpur Performing Arts Centre (KLPac), PenangPac and the Damansara Performing Arts Centre (DPAC) are already gutted by their losses, especially with these venues shut since the start of MCO on March 18.

With 41 shows either postponed or cancelled due to the MCO, KLPac’s total loss projected – from mid-March until October – is estimated at more than RM630,000. PenangPac has lost an estimated RM120,000 (March to June cancellations) and DPAC stands to lose approximately RM250,000 (March/April shows) by the end of this month.

“We are very concerned about our primary revenue streams. Venue rental, ticket sales from productions and Academy courses have all been impacted, ” says Joe Hasham, KLPac’s co-founder and artistic director.

DPAC will implement a social distancing policy and disinfect its premise before and after every show. Photo: DPAC
DPAC will implement a social distancing policy and disinfect its premise before and after every show. Photo: DPAC

Datin Jane Lew Siew Ting, DPAC’s founder, shares theatre veteran Hasham’s sentiments.

“We have zero income in March and April, and probably very little income from May till July as well. This high level of uncertainty makes it hard for most of our clients to plan for the near future. And thus, how we are going to sustain, operationally, will be a huge challenge right now, ” admits Lew.

As the MCO weeks pass, no work is forthcoming. This state of anxiety is prevalent with independent theatre companies too.

There are only so many online theatre shows – DIY and free – that most of these indie companies can sustain.

“The problem is no matter how you restructure, we are still in the middle of waiting. We don’t know what is going to happen. We might have to start from zero again if show cancellations continue, ” says Seng Soo Ming, 39, founder of Seremban-based Pitapat Theatre.

He aims to shift the Pitapat company’s direction, with small-sized touring shows to make ends meet when the storm settles.

Seng Soo Ming says Pitapat Theatre will adapt to smaller-sized shows with potential touring opportunities. Photo: Pitapat Theatre
Seng Soo Ming says Pitapat Theatre will adapt to smaller-sized shows with potential touring opportunities. Photo: Pitapat Theatre

Kelvin Wong, founder of the collective Theatresauce, is hopeful that his company’s upcoming 2020/2021 season can still proceed as planned. Theatresauce's news season is supposed to run between October 2020 and June 2021. An average of RM150,000 is usually spent to hold three mainstage productions, and three showcases for the emerging directors lab.

But the 34-year old theatre lecturer/director sees the lack of funding and private support during the pandemic as a crippling situation.

“Institutions providing grants have pulled out because of the pandemic, which is unfortunate, given that there is no better time to question, challenge and create than right now, ” says Wong.

“This is making us rethink if we should press on with our initial plan, or wait until the following year”.

On March 27, the Inxo Arts Fund 2020, organised by Inxo Arts and Culture (L) Foundation, announced that it was suspending this year’s programme (a total of RM100,000 in grants meant for 10 arts projects).

In a rare spot of positive news, the Cultural Economy Development Agency (Cendana) recently outlined a recovery package to benefit artists and cultural workers in the performing arts, visual art and independent music sectors. The announcement made on April 8 includes a food aid package and the "Create Now Funding Programme", which is an immediate response grant of up to RM1,500 per individual artist/cultural worker and RM3,500 per collective/arts organisation.

'A revamp of Theatresauce’s business model is also imminent – and being in quarantine gets us to think a bit more about business sustainability,' says Kelvin Wong from indie company Theatresauce. Photo: Filepic
'A revamp of Theatresauce’s business model is also imminent – and being in quarantine gets us to think a bit more about business sustainability,' says Kelvin Wong from indie company Theatresauce. Photo: Filepic

On April 14, Jabatan Kebudayaan dan Kesenian Negara (JKKN), or National Department for Culture and Arts, launched an online arts and culture competition called Arts Online @#stayhome.

The bizarrely-timed competition, running till April 22, covers various arts disciplines such as theatre, poetry, classical dance, singing, storytelling and even silat. To encourage signups, JKKN is providing cash prizes (up to RM1,000). This may not be the sort of well-informed financial support needed in the performing arts scene right now but at least, it is a small step in the right direction.

The recovery packages being introduced now are mostly one-time hand-outs. Long-term arts and culture recovery strategies have yet to be introduced by the government.

June Tan, a producer at the Five Arts Centre in KL, says at this point, uncertainty is the biggest factor affecting them.

“Fundamentally our work is very much located in a live event. So the need to be in a space together is still very much our impulse. We can only figure out what Covid-19 and social distancing means to this, and what changes we need to make, in the upcoming months. At this point, our other work – researching, writing, archiving are still ongoing albeit at a slower pace, ” says Tan, 45.

Meanwhile, creative arts bazaar platform Riuh had to postpone its Panggung Riuh event to July 4 and 5, and cancelled its upcoming Riuh Raya event scheduled for next month. This is the first time in three years since it started, that there will not be a festive season Riuh. One edition of Riuh usually hosts a minimum of 60 creative arts brands, and can generate up to RM220,000 in revenue.

Of course, these concerns are not unfounded.

Around the world, governments have stepped in to assist their respective arts and culture industries. In Singapore, S$55mil (RM167.7mil) was recently designated for the arts sector through the country’s Resilience Budget. An additional S$1.6mil (RM4.8mil) was set aside earlier for a capability development grant and a subsidy scheme to reduce rental and associated costs.

Khairi Anwar, the artistic director of Anomalist Production, admits the theatre scene will be in a vulnerable state in the months ahead, and it will take plenty of (creative) rethinking and re-adjusting to keep the arts going. Photo: Filepic
Khairi Anwar, the artistic director of Anomalist Production, admits the theatre scene will be in a vulnerable state in the months ahead, and it will take plenty of (creative) rethinking and re-adjusting to keep the arts going. Photo: Filepic

On March 31, the Arts Council England also rushed out a £160mil (RM863mil) emergency fund to support organisations and individuals in the creative sector affected by the coronavirus. From that amount, £20mil (RM108mil) will be set aside for freelance cultural workers.

On March 23, Germany launched a €50bil (RM236bil) aid package targeted at freelancers, artists and small businesses. The package aims to preserve the country’s artistic and cultural industry.

However, the Malaysian government’s economic stimulus package called Bantuan Prihatin Nasional, while promising to leave nobody behind, seems to have excluded a tailored financial support package for the arts industry.

Easee Gan, a writer, director and co-founder of local theatre group Muka Space, points out that many arts groups are self-funded, and many practitioners are freelancers.

“To produce a show after this may be more difficult, especially since we will need to look for sponsorship. Will there be funding left for arts and culture? With no small projects (theatre workshops, arts teaching sessions) and theatre show income coming in right now, you have to say a lot of independent arts companies will need some form of support or (financial) jumpstart to reopen, ” says Gan, 33.

Gan reveals almost all of Muka Space's projects for 2020 have been written off. Two theatre projects have been cancelled and one postponed until December. As a pet project, Muka Space's publicity campaigns for its first two theatre book publications, written by co-founder Deric Gan, have also hit the skids.

"My brother Deric was supposed to launch two (Chinese) books related to (local) theatre. They are published by Muka Space. The cancellation of Bookfest Malaysia 2020 in KL has left us with no choice but to promote and sell the books online," says Gan.

"In the months ahead, many people in the arts, already known for their ingenuity, stubbornness and resourcefulness, will have to come together to map a way forward. Creativity doesn't just stop (because of a bad situation)," he adds.

Catch-22 situation

One of the last major arts festivals not to be cancelled yet in Malaysia is the Yayasan Sime Darby Arts Festival at KLPac, which is scheduled in August. The fate of the fest hangs in balance and a decision will be made later this month.

Hasham says KLPac have had three rounds of engagement with the Ministry of Tourism, Arts and Culture and a wishlist has been presented to the Government.

The situation could potentially get worse. On April 3, Health DG Datuk Noor Hisham Abdullah did suggest that the Government might continue to ban or discourage mass gatherings for the rest of the year, even after the MCO is lifted.

A live audience is at the very heart of the performing arts. Theatre through digital media cannot replicate this experience.

While the performing arts scene has to stage shows for its very survival, it may also suffer from a loss of footfalls or worse, complete audience absence.

“It will definitely take some time for people to feel safe coming back to the theatre again, ” says Lew, 49.

“After Covid-19 and the MCO is over, we foresee that people will not see theatre and the performing arts as a priority, at least not in the first few weeks or months, ” she adds.

Closed theatres will take months to recover, and admittedly, the masses won’t have shows on their minds.

Panggung Rakyat is a traditional-based series of live events and workshops initiated by Cendana. The cultural agency has launched its arts recovery package focusing on immediate response grants. Photo: Cendana
Panggung Rakyat is a traditional-based series of live events and workshops initiated by Cendana. The cultural agency has launched its arts recovery package focusing on immediate response grants. Photo: Cendana

“People have been in isolation for a month, so their priority will be more personal, such as getting together with the family or regaining economic stability, ” says Khairi Anwar, founder of Shah Alam-based theatre company Anomalist Production.

The extra ringgit, to Khairi, will be used wisely in these difficult times and the performing arts will be viewed as a luxury to most.

“Besides the economy and trade getting disrupted, which would affect our audience’s spending power, it could also affect our sponsors and their capacity to continue supporting us. And that would also have an effect on us and the artists we collaborate with, since the focus will be on ways to pay the bills and a temporary shift from working in art, ” says Tan.

“With no exact timeline of when we can expect things to go back to normal, event planning is on hold, and there is no way to move forward. The reasonable thing to do, at least for us, is to work around it and come up with alternative ways/format, where applicable, to ensure we still reach our objective, to support the creative industry, ” says Marissa Wambeck, deputy manager at Riuh.

Whatever the circumstance, the show must go on. As it stands, no one seems ready to throw in the towel yet. Many have already entered into recovery mode, carefully planning their next move for a post-MCO Malaysia.

“Faridah (Merican) and I have maintained an optimistic view of the performing arts over the past 31 years of our involvement with The Actors Studio, KLPac and PenangPac. We will not allow the Covid-19 episode, as horrific as it is, to dampen our enthusiasm, ” says Hasham, 72.

To regain confidence from the public, theatre and event venues have assured a strict adherence to guidelines set by the Health Ministry once they are allowed to be operational. That means temperatures checks (staff and audience members), sanitising stations and even regular exercises to disinfect the theatres and spaces. Some venues will also cut down their seating capacity.

“Social distancing will remain intact until it is 100% confirmed that all is clear. The number of seats in each of our theatres will, while the initial clearance period is in effect, be cut to 50% capacity. We will be doing everything in our power to make certain that our patrons are safe and secure, ” assures Hasham.

Romantic date nights at theatres might be temporarily ruled out until the Covid-19 storm has cleared.

The Sentul Depot in KL, which is regularly used by crowded Riuh events, will be hard hit by new rules on social distancing. Photo: Filepic
The Sentul Depot in KL, which is regularly used by crowded Riuh events, will be hard hit by new rules on social distancing. Photo: Filepic

“We will enforce distance-seating by having an empty seat between each audience member. Audience numbers at DPAC per show will drop, but these are necessary steps to be taken, ” says Lew.

Christopher Ling, artistic director of local collective theatrethreesixty, says the entire global theatre scene cannot expect things to return to pre-virus normalcy that quickly.

“Residual fear has to be combated with rational measures to protect our theatre community and the audiences we live for. This may mean certain measures put in place by the MCO to remain in place for a few months after it has come to an end, ” says Ling.

Starting from stratch

Khairi, 28, is also considering new ways to attract audiences. Reducing ticket price is definitely on the table, although he is not too keen with the idea as it would affect payment to cast and crew.

“We need to slowly make ourselves relevant to the public at large. Maybe make a show about the MCO? If we can afford it, maybe do a few free shows so that people can come and watch without the uneasy feeling of spending RM50 to watch a play, ” says Khairi.

“In the short term, small to medium scale venues, of 100 pax and below, may be at the forefront of the local theatre scene in the months to come.

“Early 2021 should hopefully see the return of the large-scale venues, invigorated by their time encouraging and supporting the work of their smaller cousins this year, ” predicts Ling, 46.

“Larger venues may want to consider opening up their venues in new, unconventional ways in this new continuing age of social distancing. Reducing rental rates whilst reducing audience capacities may not make financial sense but it would certainly result in venues being used by a broader cross-section of the performing arts community.

“Also bearing in mind that these changes are only temporal until the new normal is ready to be adopted, ” he adds.

Hasham knows a thing or two about dealing with disasters and silver linings.

“The history of The Actors Studio has given us the strength to continue, ” says Hasham, referring to the flash floods that hit The Actors Studio at Plaza Putra in KL in 2003.

That venue was lost, but The Actors Studio regrouped and moved on to the KLPac venue in 2005.

“We did not, at any time, think of throwing in the towel. We were presented with a devastating challenge (in 2003) and we just had to continue.

“To other groups the only advice we can offer is ‘if you want it and need it badly enough, you will find ways of making it happen’. There is no magic formula. It’s up to you, ” concludes Hasham.  (14 Apr 2020 By DINESH KUMAR MAGANATHAN & TERENCE TOH in The Star)

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Comment by 馬來西亞微電影實驗室 Micro Movie Lab on April 12, 2020 at 5:16pm

疫後振興·綫上教育

UNESCO ICT Prize laureate ThingLink supporting teachers amid the CO...

Helping Romanian teachers create online resources In the wake of the COVID-19 outbreak, classes in Romania have been suspended as of 11 March 2020.

To ensure the continuation of education, the Finnish education technology company ThingLink, laureate of the 2018 UNESCO King Hamad Bin Isa-Al Khalifa Prize for the use of ICT in Education, is collaborating with the educational technology hub AR Studio based in Budapest to help teachers create curriculum aligned resources for online learning.

This includes training educators to create virtual lessons, interactive videos, and other resources that capture teacher’s instructions to students.

The ThingLink software enables teachers to enrich content such as video lessons with text, voice or video notes explaining key concepts and vocabulary or linking to sources and relevant materials.

"We are fully committed to work with AR Studio and support their initiative to quickly equip Romanian teachers with both essential tools and skills for online content creation", says Ulla-Maaria Koivula, the founder and CEO of ThingLink.


For the next months, AR studio is giving free access for teachers to their facilities including free access to the ThingLink software so that teachers can record video lessons to share with their students.

The content created by individual teachers and AR Studio will be freely accessible to teachers in Romania ThingLink Launches 'Donate Lesson' Option to Support Global Teacher Collaboration. ThingLink also announced a new feature allowing teachers to make materials freely accessible for their colleagues and their students around the world.

This new feature, called “Donate lessons”, enables teachers and eLearning account holders on ThingLink to share their images, videos or virtual tours to a free database of curriculum-aligned learning materials. When sharing content, teachers can choose which level and subject their work belongs to, as well as add keywords to help categorize it appropriately.

Each submission will be reviewed by members of the ThingLink community. Once the submission is approved, the author will get an approval notification and Thinglink’s Global Educator badge.

“With the new donate feature, our hope is to bring together the global educator community, and to show how despite – and because of – the circumstances, teachers in different countries keep innovating new ways for connecting and working with their students”, says ThingLink CEO Ulla-Maaria Koivula. The founder of the Finnish education technology company hopes that these innovative practices will carry on after the situation normalizes, “bringing more flexibility for working and studying remotely.” (10/04/2020  UNESCO)


Malaysian Cases:

FB直播 & 零售

e-Learning Environment

E-learning an effective education tool

UTAR: Free resources for public

Life after Covid-19

Learning mustn’t stop with Covid-19

2020-05-23 “行管解除料輟學率增”‧教專:或引發社會問題

2020-05-23國庫研究院:490萬人正規學習受影響

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2020-05-27 愛墾纳達FB

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on April 11, 2020 at 3:36pm

墨西哥城一處因疫情而空空蕩蕩的購物中心。(聯合國駐墨西哥辦公室圖片/Alexis Aubin)

國際勞工組織《監測報告第二版:2019冠狀病毒病和勞動世界》(英文) 將2019冠狀病毒病描述為“第二次世界大戰以來最嚴重的全球危機”。(國際勞工組織 2020年4月8日 )

所有領域的領導當前的處境,照理應該是“蠟燭兩頭燒”。

一頭是新冠病毒處處藏;一頭是全球危機無方向。

可是,除了極少部分的例外,很多領域的領導卻在“等著看”。

好像疫情一過,整個天空都是燦爛的陽光。

他們可能因為長袖善舞,過去事業做得好墊下基礎,經得起眼下的重重挑戰,談獨善其身綽綽有餘,所以有能力天天在等待機會,讃揚新任政府“開明”、“勤奮”與“迅速”。

但是,不是每一位(其實絕大部分)的生意人,都是那麼人脈暢通。

實際上,在過去兩年早已倦態畢露,現在一邊要提心吊膽自己家人,還有職工與顧客的安危;一邊對於已經火燒眼眉三個月的全球危機,居然絲毫沒有一點頭緒。

民間各生產領域的領導們,誰來給予你的同行會員應有的領導?

當然,也有不讃揚政府,一直很努力在抨擊政府的領導。

除了好聽與不好聽的話,現在真正需要的是行動;最關鍵的是少動嘴,多想法子突圍。

蠟燭兩頭燒,恐怕燒不了多久。何况是全球世紀危機。

Comment by 陳老頭 on April 9, 2020 at 10:55pm

疫後振興·生態文創

面對嚴峻的疫情,我們應當痛定思痛,以提升生態意識為先導,以增強生態情感為紐帶,以倡導生態行為為發端,以維護生態法制為責任,推動生態覺悟和生態素質的進一步提高,為構建人與自然和諧共生的嶄新格局而不懈奮鬥。 

新冠肺炎疫情肆虐著神州大地。這場與買賣、食用野生動物有關的嚴重疫情警醒人們,有必要重新審視人與自然的關係以及人的行為方式,在全社會大力倡導生態文明素質的提高,讓“人與自然和諧共生”的理念成為廣大民眾的自覺行動。

 

莫為浮雲遮望眼:疫情促使生態反思

 

習近平指出:“這次疫情是對中國治理體系和能力的一次大考,我們一定要總結經驗、吸取教訓。”疫情促使我們審視和反思對自然生態的一些深層認識。 

首先,思考人與自然之間的關係。人是自然生態系統的一部分。自然生態構成了人類自身生存與發展的物質基礎和客觀條件,是人的“無機身體”。不論科學技術和現代工業發展到何種程度,自然界始終是人的對象化存在物,人與自然互為存在、和諧相處、共榮共生是人與自然的合理辯證關係。這場疫情無情地告誡人們,一旦人類割裂人與自然的辯證統一關係,做出違背自然發展規律的事情,必然受到自然的懲罰。人類應當牢記:人對自然的傷害最終會傷及人類自身。

 

其次,思考大自然生命共同體。習近平強調,人與自然是生命共同體。以生命共同體闡述人與自然的關係,不僅意味著對生機勃勃大自然的贊許和肯定,也蘊含著對大自然充滿敬畏和熱愛的道德情感。自然界的動物、植物、微生物同其生存的非生命環境(大氣、水、土壤),以及生物群落內部的不同種群連結到一起,形成一個相互聯系、相互作用、相互制約的自然生態系統。這是一個維持著人類賴以生存的生命支持系統。疫情進一步表明,人要想求得生存與發展,就必須承擔起愛護自然、保護自然的生態責任。如果缺失對大自然生命共同體的責任意識和擔當,那麼人類將失去生存與發展的客觀基礎和前提條件。 

再次,思考人類在大自然中的道德地位。人與自然和諧共生的重要論述,蘊含著人與自然生態環境具有同一性。這種同一性意味著,人類道德地對待自然界就是對自身善,否則就是對自身惡。疫情昭示人們:自然界是人本質的對象化。人以善的方式對待自然,就可以確保自身的生存與發展;人以惡的方式對待自然,就一定會殃及人類自身。人類應當懂得:人,絕不能以損害自然生態環境為代價換取自身的幸福。 


最後,反思人類征服與改造自然的能力。隨著科學技術的進步和工業革命的發展,人類改造自然的能力和水平不斷提高,人們認為自己能征服自然、人主宰自然、駕馭自然,可以任由自己達到征服與改造自然的目的。但是,隨著人類活動的擴大,洪水肆虐、物種減少、土地荒漠化、臭氧層空洞……特別是這次異常兇險的疫情,直接威脅著我們的身體健康與生命安全,促使我們不得不重新審視自身改造自然的能力。疫情暴發啟示人們,在改造自然的過程中,必須樹立人與自然和諧共生的理念,遵循自然規律,合理利用自然,否則將嚴重破壞我們賴以生存的地球環境,人類也將受到大自然的嚴厲報復。

 

撥開雲霧見月明:疫情呼喚生態自覺

 

習近平指出:“強化公民環境意識,把建設美麗中國化為人民自覺行動。”作為生態危機的突出表現,新冠肺炎疫情昭示我們,應按照構建人與自然和諧共生現代化建設新格局的要求,喚起生態意識、生態情感、生態行為和生態法制的覺醒,推動形成保護生態環境的自覺。 

提升生態意識。生態意識是反映人與自然環境和諧發展的價值觀念,表現為熱愛自然、保護生態、愛護環境、珍惜資源、尊重生命等。如果人們缺少生態意識的支撐,生態文明觀念淡漠,生態環境惡化的趨勢就不能從根本上得到遏制。可以說,人們缺乏生態意識、特別是缺乏生態責任意識和生態道德意識,是現代生態問題的一個深層次根源。生態責任意識要求人們具有履行生態義務的自律意識和人格素質。人只有樹立生態責任意識,才能明確對自然生命共同體的生態擔當。要讓生態責任意識成為全體民眾共同的價值追求,需要全社會樹立生態道德意識,使正確的生態正義感、生態榮辱感、生態親和感成為全社會共同的價值遵循。此外,還要在全社會倡導關愛自然、善待自然、守護自然、敬畏自然的生態倫理,促使生態意識深入人心。

 

增強生態情感。生態情感是人們對自然生態親近、熱愛、敬畏、依戀等的生理評價和內心體驗。2015年,在蒼山洱海邊,習近平深情地指出:“要像保護眼睛一樣保護生態環境,像對待生命一樣對待生態環境。”這不僅體現出科學發展的自然生態觀,更傳遞出真摯樸實的生態情感,為我們在處理人與自然關係的把握上提供了重要的理論遵循和情感導向。在生態情感的視域下,人類保護自然既出於對自身的考慮,更出於對自然本身的熱愛。生態情感使人類在觀念上“有情化”地看待自然生態,促使人們從根本上熱愛自然、愛護生態、尊重生命,平等地對待地球萬物。這不僅有助於解決當前面臨的生態環境問題,也有助於從根源上解決人與自然關係的危機。現階段,應註重加強生態文明教育、尤其是加強生態情感教育,讓生態文明理念深入讓心,不斷增強人們的生態情感,提高尊重自然、順應自然、保護自然的思想自覺和情感自覺。 

倡導生態行為。生態行為是人們在生產、生活、消費的過程中推動生態文明進步發展的活動。它包括生態生產行為、生態生活行為和生態消費行為。生態生產行為要求在生產中踐行生態責任和生態道德觀念,避免破壞生態環境,對各種自然資源進行高質量的開發和利用,實現人與自然的可持續發展。生態生活行為提倡樹立人與自然共生共榮的綠色思維觀念和行為習慣,以科學、健康、文明、安全的生活方式實現對美好生活的向往和追求。生態消費行為倡導樹立新型的生態消費觀念,倡導可持續發展的適度、綠色、循環的節約式消費行為,反對揮霍鋪張、浮華擺闊的炫耀式消費行為,讓民眾的消費從異化消費走向理性消費。當前,全社會尤其應以這次疫情為戒,視保護珍愛野生動物為榮,視捕殺食用野生動物為恥,杜絕損害生態、破壞環境和浪費資源的不良行為,實現消費行為的生態化。

 

維護生態法制。生態法治是把生態文明建設納入法治化的軌道。生態法治要求公民的有關行為必須以生態法治的規定為底線。作為公民,要強化生態法治意識,增強生態法治觀念,提高生態法治素養,充分認識破壞生態環境的嚴重危害,更好地從源頭上預防和避免危害生態環境行為的發生,以生態法治的“紅線”守住生態文明的“綠線”。全社會要加強生態法制教育,引導廣大民眾樹立生態法制思維,更加有效地利用法律武器解決矛盾糾紛、依法維護自身的合法權益,嚴格約束不文明行為,提高依法保護生態環境的自覺性。 

近代以來,人類活動一直圍繞著如何無止境地向大自然索取更多的能源資源以生產出更多的物質財富、追求更高水準的生活這一主題,而這是不可持續的,也是極為有害的。面對嚴峻的疫情,我們應當痛定思痛,以提升生態意識為先導,以增強生態情感為紐帶,以倡導生態行為為發端,以維護生態法制為責任,推動生態覺悟和生態素質的進一步提高,為構建人與自然和諧共生的嶄新格局而不懈奮鬥。(原題《新冠肺炎疫情呼喚全民生態覺醒》2020年02月27日作者:來源:科技日報 / 本文作者張月昕,系中國農業大學馬克思主義學院講師)



疫後振興:生命哲學

截至北京時間3月20日下午18時30分,新冠肺炎疫情波及六大洲上百個國家和地區,其中88個國家形成本地傳播,累計確診247406例,死亡10225例,治愈89275例。如果從去年12月8日武漢衛健委通報首例病例算起,疫情至今剛過百天。防疫大戰不知何時結束,但它至少已對九大觀念構成沖擊,也將在塵埃落定後影響世界發展。
 

第一是安全觀。新冠肺炎疫情從波及國家數量、人口規模、經濟損失、集體恐慌和各國備戰等因素看,除傷亡人數這個維度外,其軟殺傷堪稱沒有硝煙的“第三次世界大戰”。它既是傳統安全威脅即古代瘟疫流行的現代版復活,又是傳播速度和範圍呈幾何級擴大的非傳統威脅。教科書上對人類安全與威脅的定義將被改寫。


第二是生態觀。新冠肺炎病毒被科學家基本確定為源於蝙蝠攜帶的病毒。這是2003年果子貍傳播病毒引發非典疫情後,人類再次因食物鏈紊亂遭受懲罰。透徹理解生態文明理念,理順生物和諧關系,“敬畏自然”“遠離危險和陌生動植物”等新生態觀將深入人心。 

第三是衛生觀。新冠肺炎疫情快速暴發的原因之一是近距離傳染,包括肢體接觸、呼吸和飛沫二傳。人們將深化“距離產生安全”的認知,接受諸多良好習慣乃至適當移風易俗,如在人口密集場合戴口罩,洗手、消毒、分餐、使用公筷公勺成為衛生剛性需求,遠離不良嗜好與野味,社交場合減少密切擁抱和避免貼面吻面。近日,梵蒂岡教皇謝絕信徒吻手、英國查爾斯王子合十致意、美國副總統彭斯碰肘問候等引發關註,顯示了公眾人物引領安全型社交禮儀的努力。

 

第四是國際觀。新冠肺炎疫情充分檢驗了誰是真正朋友,誰是持久朋友,誰是表面朋友,也見證了誰永遠都難以做朋友。大難臨頭,50多個國家“閉關鎖國”外人莫入;歐盟內部恢復硬邊境,成員國限制出口乃至截留過境防疫物資;各國政府基於內政而向海外僑民敞開家門,流散僑民則因安全感缺失期盼回歸祖國。這些景觀強烈沖擊著人道主義和國際主義觀念,重新強化了國家、主權、民族、邊界、領土等傳統國際法概念。 

第五是治理觀。世界近200個國家形成的多種政治、社會和經濟制度大集市,在此次疫情防範中晾曬出多種方案和模式。有的以人為本,有的優先保經濟保增長;有的隔離城市大區,有的封鎖全部邊境;有的宣布“緊急狀態”,有的進入“戰爭狀態”,有的實行宵禁;有的征用私人物資,有的全民發放現金……實踐證明,治理模式沒有最好只有更好,但是,崇尚科學、理性和專業將成為國家治理的重要考量。

 

第六是生命觀。不同文化、傳統對於生命價值具有不同定義和判斷,也充分體現在新冠肺炎全球戰役中。珍惜每一個生命者有之,大赦天下對犯人法外開恩者有之,以“集體免疫”之名無為而治者有之,苦於資源不足而采取“災難醫學”模式優先救治青壯年者亦有之。後新冠時代,全球範圍內原本就不存在統一標準的生命觀將更加豐富多樣。 

第七是產業觀。世界早已進入產業鏈條無限延長的時代,一臺電腦生產的上下遊鏈條就能串聯起大半個地球,形成不同經濟體和發展階段的產業梯度和分工,構成經濟和貿易全球化的產業鏈、供應鏈和價值鏈。但是,新冠肺炎疫情引發全球性封城、斷路、斷航、閉關、拒簽和物資截留,使這三根鏈條出現動搖而引發產業布局的觀念動搖。這場疫情可能導致世界產業模塊分散化、多元化、便利化,關鍵產品如N95口罩生產再本土化也許會成為趨勢。經濟主權將重新得到確認,流行多年的貿易體系和全球化進程或蒙重挫。

 

第八是財富觀。新冠肺炎疫情聚集多個不祥“動物”行為:蝴蝶效應、黑天鵝降臨、灰犀牛襲來、油老虎清倉、股市牛去熊來……全球經濟增長受影響,世界財富空前縮水,中觀微觀層面的全球運輸業和第三產業遭重創。疫情之後消費觀念勢必大變,保守的儲蓄型消費方式將壓倒開放的借貸型消費。 

第九是教育觀。社會是最佳學校,生活是最佳課堂,親歷是最佳教材。新冠肺炎疫情衍生的各種危機及後果,足以重塑世界、國家、社會和家庭,也足以改變親歷者的三觀四德五心六欲七情。這種改變遠非網絡授課、遠程教育等空間阻隔帶來的方式創新可比,而是對外部世界和人類生存的系統、全新思考與求解。

 

近日,經濟全球化名著《世界是平的》作者托馬斯·弗里德曼提出,今年將是新世界發展分水嶺,去年為“花冠前(BC)”,明年是“花冠後(AC)”。見此評論深感所見略同。世界將變。(原題《新冠肺炎疫情將改變九大觀念》,作者馬曉霖(浙江外國語學院教授)原載:北京青年報 | 2020-03-21)

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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