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Introduction of 《Primitive Bond Art Festival》。



Borneo has always been well-known for her distinctive culture and art, biodiversed wildlife and flora and fauna, due to her strategic geographical location, historical identity, luxurious rainforest habitats and indigenous groups living in the province. Borneo is the third largest Island in the world, covers an area of 743,330 square kilometers, with the population of nearly 18million people, where Sabah and Sarawak contributed 35% of the population, equivalent to 6million people.

With such a huge population, rich ethnic color and beautiful natural resources, we never lack of physical wealth, as well as spiritual contentment. We are cultural rich and we leave in a country full of poetry and astonishing surprises. What separate us from many other places are the harmonious between ethnic and the integration of customs, that will eventually develop into a unique civilization. The successful of Sarawak’s yearly activity ‘Rainforest Festival’ has proven that Borneo has everything it takes to become the International cultural focus. Whether or not we neglect the fact that Borneo has her own potential to absorb every cultural cliché and being filtered into our life, the ‘culture’ of Borneo plays an important role in our daily life, language, activities or habits.

Many scholars have realized that we can actually enhance our culture to something more magnificent and present them to a higher platform. Way back in 1990s, some of the senior antecessors whom have succeeded in their individual fields, came out with the ideology called ‘the Borneo Culture’. ‘The Borneo Culture’ here carries a totally different vision, where the main purpose is to cultivate the art performance, either through literature, dance, photography, handicraft or music, to repackaging our culture by using a modernized method. All performance methods are classified as a ‘tool’ to exhibit or enhance the artistic level of primitive culture, which the core value of natives’ characteristics would be suffered from minimal disturbance.

As a result, as one of member of Borneo people, we feel our responsibilities and obligation to become part of this historical torrent, not from the view of the audience, but within the stream of transformation. We present you the ‘Primitive Bond Art Festival’,where the focus is no more on cultural exchanged, but emphasizes more on local talent, and the manner of integrating primal culture with modern art performance. The development of local culture and civilization are closely related, without the emergence of inner wisdom, the cultural growth can only be distorted. While nurturing our local culture, we believe in vitality and endless creativity in the youth of whom are perfectly capable in opening up new fringe tradition thus creating new trend. Fringe tradition is not anti-tradition, but a means to explore new possibilities to transforming existing traditional culture to a new yet unique cultural characteristic, to what we call ‘the Borneo Culture’.

‘Primitive Bond Art Festival’ is a mindset revolution for the community, especially amongst youngsters, which involves the paradigm shift of our own tradition. 

We have been asking ourselves, does all the performing art, which always being misunderstood as contradict with traditional culture, has local identity (localization)? Since our cultural individuality needs to be differ from global identity (globalization), obviously we understand the importance of localization, because it is one of the measures for national characteristic. Our culture represents who we are. Rich cultural characteristic records the role status and value of a nation (state, province or tribes), when presenting in the international stage, our origins and traits are quickly understood. On the other hand, culture is also the precipitation of wisdom in the flow of time. The so called local culture is like a kind of gears in history, stacking into what it is now, lifestyle. Within which, of course, includes chance.

Innovation of cultural characteristic is equally important as the preservation of it.

At the age of globalization, the formation of direction and idealism for culture shouldn’t be limited. The new trend created by the mindset of innovative youth, may one day intermingle with our historical heritage and stimulating an unexpected chemistry and hence developing a brand new trend in line with the pace of globalization.

‘Primitive Bond Art Festival’ intends to open up a brand new vision to the youth, creating new opportunities, markets and possibilities. 21st century is the most important phase in the history of mankind, where information flows and grows rapidly at the exponential rate. Technology advancement has made the impossible possible for matters, and getting to learn new knowledge has never been easier. Undeniably, human nature has evolved to be more independent as the world become more and more challenging. People anticipate but not participate, many have forgotten the means of tradition, let alone preserving one.

‘Primitive Bond Art Festival’ brings the core value of tradition and performing art to the society, within the society, and nurtures the values of our future generation.

‘Primitive’carries a meaning of “not derived from something else; primary or basic”, while ‘bond’ means the uniting force that links different things. Art exists in our daily life and culture is what we live in everyday. All the while people have misconception about what art is really about. ‘Primitive Bond Art Festival’ is a concept not only limited to audience, but to allow public participate in the art performance. Art Performance is being introduce to the street, or any public place, where the audience become part of the performance, either they volunteer themselves to join the performance, or solely stay as the audience, they will undergo totally different experience.

The first contemporary dance Theatre, Synergy Dance Studio , will be the frontier for this glamorous event.

‘Primitive Bond Art Festival’ consists of dance performance, contemporary music, workshop, photography installation, theater performance, short films, etc. The art festival will introduce a brand new concept called experimental street art performance to the people of Borneo, which integrating art performance from different fields, composite into irregular ever-changing circumstances. Performer will either play a role as performer at a particular place, or within the audience at a random yet organized spot. Vice versa, audience can be part of the performers, or they are the element in the art performance. In short, the project itself is a piece of art, where technically everyone involved is a small piece of the puzzle to complete the masterpiece.

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对不起,我没那么高格调。

《唐朝》 李白酒罢笙歌谣 杜甫梦醒诗情操 感叹天地浩淼 盛世风骚 落幕萧萧 李世民鞍上夺标 武则天垂幕政朝 江山如此多娇 难得逍遥 还看今朝 礼义廉耻仁爱忠孝 品德的指标 唐朝 是中国人的骄傲 朝来夕往的浪潮 抹不去心的微笑 唐朝 是我们心的圈套 囚禁民族的天牢 海角天涯无法逃 用美酒和葡萄 默默哀悼 死去的诗歌和人道 想不到我即兴写的一首歌词,竟然引起了大家的不满,这首歌,虽然起名《唐朝》,说得却是中国人(华人)的思想和心态。本来是自娱的一首词,可能我用了一些奇怪的字眼,是人不是人,是鬼不是鬼(人海中的蚂蚁)引经据典,大肆批评我的无知,错用了唐朝的意义;manchys小姐也踏上一脚,先说已经过时,然后指责我胡乱塑造历史,还好大家还算客气,选用的句子都比较软性,让我有机会做出解释。 唐朝的历史,人海中的蚂蚁已经转载不少资料,这里不赘,而且也和我想表达的东西无关。小的不才,习过几年诗,依然写不出一首好诗,却拜过程所赐,阅过不下诗千首,其中的最爱,当然是韵律优美的唐诗。要真正理解唐诗,必须了解诗人们的背景,当时社会的制度,诗人的经历等等。有许多现在看来平平无奇的是好诗,倘若知悉诗人创作诗的原因以及它的背景意义,顿时变成富有深沉的艺术感染力,李白的《静夜思》乃其中一例。唐诗的浪漫色彩比较浓厚,但诗风因人而异,李白豪迈,杜甫悲情,白居易儒雅,李商隐缠绵,王维朴实,孟浩然坦荡,各具特色,百花齐放。我对唐朝的知识,是从读唐诗慢慢累积而成,所以写这首歌词时,没有翻阅书本,直接从脑海捕捉对唐朝的记忆,书写成章。之所以这么做,原因很简单,我不是在写唐朝的繁华陨落。那些,我没有资格写。 选用四位唐朝人物的名字,李白、杜甫、李世民和武则天,并没有特别意思,那是我仅有的知识中觉得有代表性的其中几位(不然就不切题了),李白杜甫代表民;李世民武则天代表官。我也从百度百科转载一些资料: 『 李白 李白 (701年~762年),汉族,字太白,号青莲居士,又号“谪仙”。有“诗仙”之称,与杜甫并称“李杜”。身长七尺有余(约1.83米)。生于安西都护府碎叶城,幼年迁居四川绵州昌隆县(今四川省江油市,这种说法以郭沫若为代表)一说生于四川江油青莲乡。唐代伟大的浪漫主义诗人。其诗风格豪放飘逸洒脱,想象丰富,语言流转自然,音律和谐多变。他善于从民歌、神话中汲取营养素材,构成其特有的瑰丽绚烂的色彩,是屈原以来积极

原来你并不冷漠无情,而我却信以为真。

渐渐的,当我开始明白什么是对错时,我变得更加迷惘。 是我不应该,不应该扎破那彼此之间的神秘感,揭露那些伤痕累累的过去。不为什么,只是豁然明白刻意乐观坚强的背后,你其实隐藏了最紧绷脆弱的线条;在伪装潇洒豁达的面具之下,掩饰着即将崩溃的情感堤防。那一些澎湃汹涌的情绪,既是不可逾越的禁忌,也是一触即发的瞬间决堤。 原来你并不冷漠无情,而我却信以为真。

一厢情愿的浪漫。

政治宗教和种族课题,永远只是一厢情愿的浪漫。每个人都站在自己的立场上看世界,以自己认为最正确的角度看别人的错误,看不见被自己抛诸脑后的理性思想。 我也一样。 我一直认为马来西亚的问题不在于种族,而是源自于宗教。无论你的祖籍是谁,也不管你的户籍在哪里说什么语言名字是舍,只要身份证上注明是回教徒,你就可以享有任何一种国家供给的种种特别权益。  温和派回教徒本质上是顺服善良的。相信世界美好,相信和睦共处,相信公正信义,相信阿拉是和平的象征。有别于激进派回教徒以恐怖手段来恐吓征服世界,温和派回教徒更乐于安居乐业,用一种近乎避世的生活方式活着。马来西亚的回教徒大多属于温和派,极端分子很少,也是世界少有回教国几乎没有极端回教分子的的国家。 宗教在任何地方都是棘手且敏感的问题,尤其回教。可兰经说回教徒是世上最优越的的群众,没有得到启示的非回教徒(Kafir)是污秽次等的人。和世上许多宗教一样,回教徒一心一意为了拯救世俗,甚至牺牲自己的性命亦无不可。神圣的使命,加上从小便灌输在脑海里的优越感,穆斯林成为了世界最善良最坚韧也最敏感的一群人。这些宗教意识,根深蒂固地埋在每一位穆斯林的心坎深处,包括所有马来人。  与中国华人不同,华人的优越感是一种自我保护的伪装,五千年文化反反复复被侵略被欺压被封锁的思想,造成了无法衡量的自卑感,为了削弱这种负面的情绪,华人骨子里的韧性,不甘被命运践踏的本质,成为了生存的唯一武器,一旦得势,一旦强大,优越感就无限量膨胀,成为了维护自卑的保护膜。 其实我应该说宗教本身不是问题,而是对宗教的诠释。同样一本可兰经,不同派别的人可以有南辕北辙的理解方式。  真的,我相信纳吉自认为是虔诚的回教徒,就像那些将炸弹挂在身上自杀袭击的虔诚回教徒一样,他们相信他们所理解的可兰经是对的。他们看不见大众的思想,看不见自己扭曲的心灵,他们认为他们是阿拉钦点的使徒,执行最神圣的任务。每个人对好坏对错都有自己的见解,当自己的‘对’得到上天的首肯,加上世人皆醉我独醒的优越感作祟,世上没有任何一种力量可以改变这种想法。战争,往往是因为正面的思想,因为‘对’,因为比自己生命更大的使命,才掀起的。纳吉也许认为,根据他所理解的可兰经,从非穆斯林手中夺取财富,分给投靠在身边的穆斯林是上天给予他首相职位最重要最神圣的使命。他不可能认为自己有错,他欺骗的只是非穆斯林,掌控