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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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继续烦恼。。。

要换一台电脑?还是。。。 这个? 这个? 这个? 不然就这个? 或者这个也不错,:P 鱼与熊掌,所以,继续烦恼。。。

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

Here In My Home

相信最近大家都可以从不同管道听见这首歌。我听了这首歌,觉得很感动,也很有感触。 是因为动荡的政治局势吗?还是因为心里一直觉得这一片我们都深爱的土地没有真正承认华人成为“马来西亚人”的感触?又或者是西马人的心态还在下意识地将东马排除在外(到现在还是有西马人这样对我说:我们马来西亚人很少到沙巴砂拉越去,所以不知道沙巴砂拉越和马来西亚有什么不一样)? 当我们唱着这首歌时,意味着我们没有肤色之分,没有信仰之别,也没有区域的不一样。 我们,同样是马来西亚人。同样的深爱着我们的国家。 如果大家喜欢,可以到 这里 下载。