Green Papaya Art Projects started as an exhibition space but soon shifted its focus to off-site projects and those beyond the visual arts—as seen in the operational documents, correspondences, photographs, videos, news clippings, and publications. The material covers experimental dance and choreography; film screenings and one-day performances; collaborations with other organisations and curators not associated with Green Papaya Art Projects; residencies that brought together local and international artists; and special projects such as publications, multi-disciplinary research, and noise performance. Green Papaya Art Projects has shown many well-known artists from the Philippines—established icons as well as then-emerging artists, many of whom are women.
SOUTH SOUTH is an online community, an anthology, an archive and a resource for artists, galleries, curators and collectors, institutions and not-for-profits invested in the Global South.
The platform offers a repository and a space for new, shared value systems centred on community, collaboration and exchange. It is a central portal to experience the programmes and artist profiles of galleries within and dedicated to the Global South.
It will host year-round events and seeks, during these tumultuous times, to address an imbalance in the global cultural framework by providing a means to explore a de-centred art world, within a broader geopolitical context. In the featured section, the platform maintains an ongoing interview-based editorial component, including conversations, essays and other texts on current events and significant shows in and about the Global South. In the archive section, SOUTH SOUTH facilitates a community-built archive highlighting selected seminal exhibitions, texts and moments about modern and contemporary art in the Global South at galleries, not-for-profits and museums, as well as archived interview-based editorial and artist profiles. Content of the site is established through contributions from key artists, writers, curators, nonprofit organisations and gallerists.
SOUTH SOUTH maintains an ongoing programme, and its launch event, VEZA, ran from 23 February to 7 March 2021 and brought together 50+ galleries from more than 40 cities spread across 30 countries and 5 continents, presenting a more holistic world-view of contemporary art.
ALTERNATIVE ASIA is a website to introduce art spaces and groups engaging in various activities in Asian countries. Recently in Asian countries, more and more attention has been attracted to art spaces which show different developments that are independent from those of conventional art museums and commercial galleries. They are commonly artist-run-spaces which hold various types of events including workshops, music concerts, talks and symposiums, not limited to art exhibitions.
ALTERNATIVE ASIA is here to focus on the unique movements simultaneously happening in Asia, and share the reports and updated information on the art spaces with the world. I hope you can feel the new wave in Asian art scene through our website, created as a part of “Alternative Asia Platform,” research and development project by Tokyo Art Research Lab, human resource development program of Arts Council Tokyo.
The Bangkok Art Biennale (BAB) is a biennial contemporary art festival that transforms Bangkok into a vibrant hub of artistic expression, showcasing works from both local and international artists across various venues in the city. Founded in 2017, Bangkok Art Biennale (BAB) is an art festival set in the capital of Thailand. Spanning various venues over a period of four months, BAB transforms the bustling city of Bangkok into a lively hub that celebrates art, creativity, and culture. Visitors are invited to immerse themselves in contemporary art from a diverse range of contemporary artists, both local and international, throughout the city in art and cultural spaces, as well as in Bangkok’s iconic landmarks, temples and public spaces.
The inaugural Bangkok Art Biennale (BAB 2018) themed Beyond Bliss was the first major international contemporary art festival in Thailand and attracted over two million visitors across 20 venues featuring 75 artists; while BAB 2020, Espace Routes, garnered 2.3 million viewers online and over 400 thousand visitors across 10 venues showcasing 82 artists, despite being mounted amidst the Covid-19 pandemic. Those numbers were among the highest for the eight international biennales that kept to schedule during lockdowns. BAB 2022, CHAOS : CALM, welcomed nearly 1 million visitors across 12 venues that showcased 73 artists. In addition, BAB is accompanied by a rich programme of public events, including educational conferences, talks, hands-on workshops, guided visits, publications, and online programs to ensure a memorable and educational experience for all.
The fourth edition of BAB, running from October 24, 2024, to February 25, 2025, adopts the theme “Nurture Gaia”, emphasizing ecological awareness and the nurturing aspects of nature. This theme invites reflection on the relationship between art, nature, and humanity.
BAB 2024 features 76 artists from 39 countries, including:
• Adel Abdessemed (Algeria/France)
• Choi Jeong Hwa (South Korea)
• Louise Bourgeois (France/USA)
• AKI INOMATA (Japan)
• Princess Marsi Paribatra (Thailand)
These artists present a diverse array of artworks, from sculptures and paintings to video installations, exploring themes related to ecology, femininity, and biodiversity.
Artworks are displayed across 11 iconic venues in Bangkok, blending historical and contemporary settings:
• Bangkok Art and Culture Centre (BACC): The main venue, featuring the largest collection of artworks.
• Wat Arun (Temple of Dawn): An ancient temple providing a serene backdrop for contemporary art.
• Wat Pho (Temple of the Reclining Buddha): Integrating art within a historic and spiritual context.
• Wat Prayoon: Another historic temple hosting installations that dialogue with its architecture.
These venues offer unique experiences, allowing visitors to engage with art in diverse environments.
Beyond exhibitions, BAB 2024 includes:
• Conferences and Workshops: Facilitating discussions on art, ecology, and cultural preservation.
• Guided Tours: Providing insights into the artworks and their contexts.
• Publications: Offering deeper explorations of the themes and artists featured.
These programs aim to foster a deeper understanding of contemporary art and its role in addressing global challenges. The Bangkok Art Biennale 2024 serves as a platform for cultural exchange and dialogue, highlighting Bangkok’s position as a significant center for contemporary art in Southeast Asia.
]]>Keo Seima Wildlife Sanctuary, Cambodia – 1 Oct. 2024 – More than 30 members of the youth, elderly, women, village leaders, and local officials this month participated in a 3D participatory mapping exercise that organizers hope could become a model for community-led and socially inclusive climate action planning in Southeast Asia.
By fostering awareness through community engagement, the Building a Participatory 3D Model for Putrom village in Keo Seima Wildlife Sanctuary strengthens local participation in sustainable landscape management and highlights the importance of biodiversity, thus promoting effective conservation as well as long-term economic and agricultural development.
The Keo Seima Wildlife Sanctuary is a REDD+ project led by the Wildlife Conservation Society (WCS) that aims to reduce emission from deforestation and forest degradation while benefiting local communities through sustainable forest management, biodiversity and enhancement of forest carbon stock.
REDD+ refers to a process moderated by the United Nations Framework Convention on Climate Change (UNFCCC) which supports developing countries' efforts to reduce emissions from deforestation and forest degradation, and foster conservation, sustainable management of forests, and enhancement of forest carbon stocks.
While participatory 3D modeling has been implemented in the past, it is the first time that SERVIR Southeast Asia (SERVIR SEA) is partnering with collaborators in the region to combine its geospatial data collection and mapping prowess with community development assets and networks of others.
“SERVIR SEA’s geospatial technology empowers Cambodia through the Biophysical M&E Dashboard, a vital tool for monitoring land use, land cover change and conservation project progress. Participatory 3D mapping is the approach that fosters conservation within wildlife sanctuaries. This collaborative approach promises to increase communities’ engagement and enhance land management practices, paving the way for a resilient Putrom village,” says Nguyen Hanh Quyen, ecosystems and carbon management theme lead at SERVIR SEA.
SERVIR SEA – a joint partnership between the U.S. Agency for International Development (USAID), the U.S. National Aeronautics and Space Administration (NASA), and the Asian Disaster Preparedness Center (ADPC) – uses publicly available satellite imagery and geospatial technologies to address climate change challenges in the region.
With support from USAID/Cambodia, SERVIR SEA works on geospatial applications that inform decision makers and the public on sustainable agriculture, biodiversity conservation, and climate actions, ultimately contributing to decreased greenhouse gas emissions and improving the local communities’ livelihood. USAID/Cambodia Morodok Baitang project and WCS were the main SERVIR SEA partners in this exercise.
“The participatory 3D modeling in Putrom village is an important step in getting the community involved in forest conservation work. WCS aims to empower local communities to take an active role in forest protection. Through 3D mapping exercises, we hope to learn more about the local knowledge and how to wisely protect forest and wildlife. By working together with local communities, we can understand the landscape better to improve the livelihoods of the local community,” says Kimheak Chhay, Community and REDD+ manager for WCS’s Cambodia Program.
The WCS program in Cambodia oversees community engagement work with a primary focus on empowering indigenous communities to exercise their land and natural resource rights and improving the well-being of the communities residing in and around the Keo Seima Wildlife Sanctuary.
During the first two days of the August workshop, youth teams, with technical assistance from WCS, produced a multi-colored 3D model of the village, with the relevant high-and-low contours. On Day 3, after an introduction on the 3D mapping process and community land management zoning exercise, and in the presence of the village community leaders, the participants engaged in group discussions on marking land boundaries. The discussions helped suggest which land portions could be used better for crop yield or for conservation, and how the exercise can advance knowledge and information sharing on protected area land management.
This article posted on here.
]]>The simple act of connecting with peers from a neighboring country is still a rare and treasured opportunity for many practitioners, especially in the Mekong Region. The work MCH has been doing so far has been guided by inputs from practitioners selected from the region each year since 2018, and designated as ‘Fellows’ of MCH. In 2018 we held a workshop with a group of nearly 20 Fellows, to hear what priorities they wanted MCH to focus on. At that workshop, they told us “MCH should make us feel safe, relaxed, joyful and inspired,” it should “be a resource,” “make us visible,” “connect us,” and “enable us to be creative and reflect.”
We are delighted that five years on some of the words that Fellows have chosen to describe how they see MCH include “a home, “a search engine,” “an ally,” and “a field for experimentation.” As we go into the next five years, we will continue to listen to our Fellows, adapting our approaches to keep meeting their needs. While our network has grown across Asia, best demonstrated by nearly 400 people coming together for the first Meeting Point in 2021, we continue to center the Mekong Region in our programs. We also couldn’t do any of the work we do without the incredible network of local, regional and international peers and partners with whom we collaborate.
Nearly every project and program we have been able to run in the past five years has been designed and delivered with at least one partner. This reflects our spirit and commitment to work with and learn from others, and to connect networks and experiences for the good of our wider community. We are deeply grateful to everyone we’ve worked with and look forward to working with both new and old friends in the coming years. Despite the achievements of the past five years, the majority of the MCH Fellows network are working independently, with unstable income, operating on a project-to-project basis, juggling multiple jobs. They have a strong social conscience and a desire to make their work meaningful – but too often lack support, resources and training.
Networks like MCH fill a gap in the ecosystem of the arts in Asia, especially socially-engaged arts. MCH serves as a hub to distribute information, to consult with on-the-ground workers, offering solidarity and raising visibility of the great work happening at the intersection of arts and society in Asia. We take this responsibility seriously and will do more in the next years to spotlight the successes and the issues facing our network. Our core mission remains to empower our Fellows to bring to life their visions for a sustainable and inclusive Asia. And it is that which keeps us inspired. The greatest asset of MCH is our network, and it is their creativity, commitment and passion which continues to make this work worthwhile.
Mekong Cultural Hub (MCH) was established in 2018 to address a systemic lack of connectivity among artists and cultural practitioners in Southeast Asia and the Mekong Region by working with people whose own work is at the intersection of arts and society. The priorities of the hub were established after an initial mapping project had identified that individual cultural practitioners, artists, and arts organizations in the Mekong Region share many of the same interests, priorities, challenges and constraints. These challenges range from a lack of resources, sensitive social and political contexts, limited access to in-country training and development, and few opportunities to exchange knowledge and collaborate with peers from neighboring countries.
Threats to sustainability and the environment are increasingly tangible throughout the region. MCH set out to initiate projects and work on collaborations all around Asia. Whereas the central focus is on Cambodia, Laos, Myanmar, Taiwan, Thailand and Vietnam, cultural practitioners from other parts of Southeast, East and South Asia have participated in one or more of the initiatives MCH has organized in its first five years. Since its foundation MCH has connected more than 150 practitioners from the region for professional exchange, co-creation and collaboration.
MCH is a sister organization of Cambodian Living Arts (CLA), which has been working in Cambodia since 1998. Both CLA and MCH are part of the Living Arts International (LAI) family. LAI is a nonprofit organization whose vision is for a peaceful, sustainable future with living arts as a catalyst for change. MCH, CLA and LAI share the belief that arts are at the heart of a vital society, and this spirit is reflected throughout our programs. MCH grew out of CLA’s Living Arts Fellows program and CLA’s involvement in the Young Cultural Innovators program of Salzburg Global Seminar.
This paper presents the main themes that emerged from research conducted in 2022 by external researchers with fellows, alumni, mentors, and partners. The aim of the research was to assess the MCH network as it approaches the end of its fifth year of development. Online feedback was requested through an opt-in survey to fellows and alumni who engaged with the Mekong Cultural Hub since 2018. The survey was sent to over 140 people and we received 46 responses, approximately a 32% response rate. The objective of the survey was to gather feedback on how people engage with MCH, the values they associate with this connection and their own insights into the organization and its work. Two focus groups were also held with MCH partners, collaborators, fellows and alumni.
]]>Industry 4.0 refers to the fourth industrial revolution, which transforms manufacturing by implementing new technologies and innovations, particularly in digital technology, cyber-physical systems, biology, and hardware automation. The vision of Industry 4.0 is to make smart factories a reality and fully utilize digital manufacturing. It is believed to be end-to-end digitization in the manufacturing sector and will create an ecosystem across the entire supply chain. Currently, Industry 4.0 is supported by five vital technological innovations: artificial intelligence (AI), Internet of things (IoT), robot and sensor technology, human-machine interface, and 3D printing.
The world is now moving towards Industry 4.0, and Indonesia is also preparing to join the new trend. As the backbone of the Indonesian economy, the manufacturing sector in Indonesia accounted for 20% of Indonesia’s GDP in 2017. Almost one in five of the working population in Indonesia is employed in this sector. Thus, if Industry 4.0 is thriving in Indonesia, the country will see a growth in GDP of at least 7% annually between 2018 and 2030; the manufacturing industry will contribute to 26% of the nation’s by 2030 as well.
Indonesia faces tough competition from countries like China, Vietnam, and Thailand. The government has implemented positive strategies to tackle the challenges, but four significant obstacles remain for Industry 4.0 in Indonesia. These include capability issues, funding problems, lack of technology/digital infrastructure and system suppliers for Industry 4.0, and regulation and policy overlap that require further synchronization. For funding and capabilities problems, not only does the manufacturing sector need a large number of fresh funds, but the implementation of Industry 4.0 also requires foreign talent and technology to help improve the capability and quality of the domestic industry. As for the need for more technology and system suppliers, many manufacturers have been discouraged from migrating to Industry 4.0. Last but not least, harmonization is needed for rules and policies, and the Indonesian government still needs to solve this issue.
Industry 4.0 has great potential in Indonesia due to its large population and high number of smartphone and internet users. A study by McKinsey in 2018 found that almost 78% of Indonesian companies were aware of Industry 4.0, which is second only to Vietnam. Interestingly, countries like Singapore, Malaysia, and Thailand have lower rates of Industry 4.0 awareness than Indonesia. Industry 4.0 will contribute approximately US$121 billion to Indonesia’s GDP if appropriately executed by 2025. It may also help Indonesia earn up to US$150 billion annually by 2025.
4.0 industry in Indonesia is on the horizon, marked by the integration of machine automation and the Internet of Things. It impacts various aspects of daily life, leading to the rise of new startups, job losses for conventional workers, and closures of retail stores, among other changes. The World Economic Forum predicted the loss of 75 job types in the next four years, offset by the creation of 133 new jobs due to technological advancements. Despite the challenges, Industri 4.0 presents new business opportunities. Here are four business opportunities in this era:
1. Startups
The government’s Making Indonesia 4.0 initiative focuses on five industrial sectors: food and beverage, automotive, electronics, chemicals, and textiles. Starting a startup in these sectors may benefit from government support. However, other sectors like artificial intelligence, augmented reality, crypto, and fintech offer untapped potential.
2. Online Buying and Selling
Indonesia already has major marketplaces like Tokopedia and Bukalapak. Regardless of business size, these platforms provide equal opportunities for all. With a large user base, businesses can avoid promotional costs, and online transactions eliminate expenses such as rent and operations, maximizing profits.
3. On-Demand Services
On-demand services cater to user requests, as seen in platforms like Gojek and Grab. Opportunities exist in various sectors, such as housekeeping, custom products, and painting services. Success lies in identifying sectors with a broad market and no dominant players, making it easier to succeed in business competition.
4. Online Marketing
Online marketing is integral to both online and offline businesses. A robust online presence enhances visibility, trust, and customer interaction. Services like Google My Business help offline businesses appear on Google Maps, facilitating customer location discovery.
Industri 4.0 brings challenges and opens doors to innovative business ventures across diverse sectors.
The Indonesian government has launched several key initiatives under the “Making Indonesia 4.0” roadmap to advance the nation’s industrial sector into the Fourth Industrial Revolution. Notable projects include:
1. Indonesia Industry 4.0 Readiness Index (INDI 4.0): This program assesses the preparedness of industries to adopt Industry 4.0 technologies, providing a benchmark for companies to evaluate and enhance their capabilities.
2. Implementation in Textile and Garment Sector: The government is promoting the adoption of Industry 4.0 technologies within the textile and garment industry to boost productivity and competitiveness.
3. Material Flow Improvement in Petrochemical Industry: Efforts are underway to optimize material flow processes in the petrochemical sector, aiming to increase efficiency and reduce production costs.
4. Establishment of Pilot Projects: Pilot projects are being set up in various industries to serve as models for implementing Industry 4.0 technologies, facilitating knowledge transfer and best practices across sectors.
These initiatives reflect the government’s commitment to integrating advanced technologies into key industrial sectors, thereby enhancing productivity and global competitiveness.
]]>The ASEAN AI Guide differs significantly from other international AI governance frameworks in its approach and focus. Unlike the EU AI Act, which enforces binding regulations with strict mandates, the ASEAN guide adopts a voluntary, light-touch approach that emphasizes flexibility and practicality. This approach is particularly suited to the diverse regulatory and technological landscape of ASEAN member states, allowing organizations to integrate ethical AI practices without stifling innovation.
In contrast to global guidelines like the UNESCO Recommendation on AI Ethics or the OECD AI Principles, which focus on universal principles, the ASEAN guide is tailored to the region’s specific needs. It accommodates the varying levels of digital readiness among member states, such as Singapore’s high technological maturity and Cambodia’s emerging infrastructure, promoting gradual adoption and interoperability across the region.
A key strength of the ASEAN AI Guide is its emphasis on human-centric AI governance. It strongly advocates for human oversight, accountability, and ethical reasoning throughout the AI lifecycle, ensuring that “responsibility by design” is embedded in development and deployment processes. While global frameworks also highlight human involvement, the ASEAN guide offers practical recommendations for localized implementation.
Additionally, the guide balances ethical governance with economic priorities. It avoids over-regulation, making it easier for smaller businesses and startups to adopt AI technologies without incurring prohibitive costs. This is in contrast to the EU AI Act, where compliance costs can disproportionately affect smaller firms.
Lastly, the ASEAN AI Guide adopts an ecosystem-based governance model that includes strategy, infrastructure, data governance, and talent development. This holistic approach provides actionable steps for organizations to implement ethical AI practices sustainably, whereas global guidelines often focus on principles without operational strategies. Overall, the ASEAN AI Guide prioritizes adaptability, regional cooperation, and economic inclusivity, making it uniquely suited for Southeast Asia’s developing and diverse context.
Key Features of the ASEAN AI Guide
1. Guiding Principles
The guide is based on seven principles, including transparency, fairness, security, and human involvement. It aims to create ethical AI systems by encouraging checks, balances, and accountability throughout the AI lifecycle.
2. Voluntary Adoption
Unlike binding legislation, the guide is a practical tool for organizations to align with ethical AI practices without stifling innovation. It focuses on commercial, non-military AI applications and aims to promote interoperability across ASEAN countries.
3. Ecosystem Approach
The guide encourages a holistic approach involving strategy, infrastructure, data governance, talent, and organizational culture to create a sustainable AI ecosystem.
Key Features of the ASEAN AI Guide
1. Guiding Principles
The guide is based on seven principles, including transparency, fairness, security, and human involvement. It aims to create ethical AI systems by encouraging checks, balances, and accountability throughout the AI lifecycle.
2. Voluntary Adoption
Unlike binding legislation, the guide is a practical tool for organizations to align with ethical AI practices without stifling innovation. It focuses on commercial, non-military AI applications and aims to promote interoperability across ASEAN countries.
3. Ecosystem Approach
The guide encourages a holistic approach involving strategy, infrastructure, data governance, talent, and organizational culture to create a sustainable AI ecosystem.
Challenges and Considerations
1. Cost Burdens
Implementing ethical practices may disproportionately impact small and medium-sized enterprises (SMEs) due to higher per-capita compliance costs.
2. Skills Gaps
A lack of skilled professionals in AI governance, cybersecurity, and data management poses challenges for organizations.
3. Regulatory Readiness Disparities
ASEAN countries vary in their AI governance maturity, with Singapore leading and others, such as Cambodia and Lao PDR, lagging.
4. Ethical Complexity
Addressing societal impacts of AI, such as changes in critical thinking and trust in automation, requires ongoing monitoring and adjustments.
Recommendations for Enhancing Implementation
1. Policy Focus
Introduce ex-post regulations for legal recourse in cases like intellectual property infringements or cybercrimes.
2. Support for SMEs
Offer subsidies or tax breaks to help smaller organizations adopt AI responsibly.
3. Skill Development
Invest in training programs to close gaps in cybersecurity, AI ethics, and risk management expertise.
4. Regional Coordination
Establish an ASEAN Working Group on AI Governance to foster alignment and monitor progress.
Conclusion
The ASEAN AI Guide is a significant step toward fostering ethical AI development in Southeast Asia. Its emphasis on flexibility and regional cooperation aligns with the diverse needs of member states. However, addressing implementation challenges such as cost, skills gaps, and regulatory disparities will be crucial for realizing its full potential. The guide sets a strong foundation for balancing innovation and governance in the evolving AI landscape.
The ASEAN approach is more adaptable to varying levels of readiness among member states and avoids stifling smaller organizations, unlike the EU’s heavy regulatory model. ASEAN AI Guide: (1) Designed for a region with uneven digital infrastructure and regulatory maturity among member states. (2) Encourages interoperability and gradual adoption, accommodating countries like Singapore (high readiness) and Cambodia or Lao PDR (lower readiness).
• UNESCO Recommendation on AI Ethics: Aims for global applicability but lacks specific regional customization.
• OECD AI Principles: Focuses on broad, high-level principles for AI governance but doesn’t address regional disparities.
ASEAN’s guide tailors its recommendations to its regional needs, acknowledging the diversity in digital readiness and resource availability across member states. The ASEAN AI Guide is uniquely positioned as a practical, flexible, and region-specific framework that balances governance with innovation. Compared to more prescriptive and global approaches like the EU AI Act or UNESCO’s recommendations, it prioritizes adaptability, regional cooperation, and economic inclusivity. These characteristics make it well-suited for a diverse and rapidly developing region like Southeast Asia.
(2) ASEAN’s innovative AI guide shifts focus, countering EU’s regulatory efforts
"The European Union (EU) has actively engaged with the Association of Southeast Asian Nations (ASEAN) to influence the development of AI governance frameworks within the region. In early 2023, EU representatives conducted tours across Southeast Asian countries, advocating for the adoption of AI regulations aligned with EU standards. This initiative aimed to promote a unified approach to AI governance, reflecting the EU’s commitment to establishing comprehensive and ethical AI regulations globally.
The EU’s efforts are part of a broader strategy to set global benchmarks for AI legislation, similar to the impact of its General Data Protection Regulation (GDPR) on data privacy laws worldwide. By encouraging ASEAN countries to adopt similar AI regulations, the EU seeks to ensure that AI systems are transparent, reliable, and uphold fundamental rights and values.
However, ASEAN member states have shown a preference for a more flexible, business-friendly approach to AI governance. The ASEAN Guide on AI Governance and Ethics, released in February 2024, reflects this stance by emphasizing cultural differences and avoiding stringent regulations. This approach contrasts with the EU’s more prescriptive AI Act, highlighting the diverse perspectives on AI regulation between the two regions.
The EU’s engagement with ASEAN on AI governance underscores its ambition to influence global AI regulatory standards. While the EU advocates for comprehensive regulations, ASEAN’s approach reflects its unique regional context and priorities, leading to a more flexible framework for AI governance."
]]>"An online platform is a digital service that facilitates interactions between two or more distinct but interdependent sets of users (whether firms or individuals) who interact through the service via the Internet. “ (OECD, 2019)
Digital platforms support so many of our daily activities that they are transforming how we work, play and create economic value. We use them for purchase of goods and services, transportation, payments, news and entertainment consumption, jobs and employees searches, and so much more.
With the rise of digital platforms, new business models have proliferated across the world, and Southeast Asia (SEA) is no exception. In the region, we have seen several home-grown digital platforms use technology in their main business models to remove transactional friction in the consumption of both digital and offline goods and services. Many of the largest home-grown Southeast Asia platforms are online-to-offline (O2O) in nature, facilitating transactions with both an online and offline component. They are very different from information platforms in that O2O platforms (“Platforms”) require both physical and digital infrastructure to function. These Platforms cut across several sectors, ranging from e-commerce and ride-hailing, to logistics and digital financial services.
The O2O Platform Economy (“Platform Economy”), which consists of economic and social activity between users that are facilitated by these Platforms, has become a frequent topic of discussion across many policy areas, including its role in the digitalization of the economy, labor and employment, competition, consumer protection and privacy, among other topics. Given the fast-evolving nature of Platforms, they can be more complex than they appear on the surface, and are not always well understood. To support constructive and balanced policy discussions around Platforms and the Platform Economy in Southeast Asia, the Tech for Good Institute has commissioned this report as its first publication, with the intent to provide a broad introduction on this topic and set the stage for further work, such as diving deeper into the challenges and issues in supporting the Platform Economy in Southeast Asia.
Online-to-offline (O2O) platforms (“Platforms”) facilitate transactions among users with both online and offline components (e.g. online purchase of physical goods that are then delivered offline). These Platforms are unique in which they require both physical and digital infrastructure to function.
The O2O Platform Economy (“Platform Economy”), which consists of economic and social activities between users that are facilitated by these Platforms, has become a frequent topic of discussion across Southeast Asia (“SEA”) in many policy areas, including their role in the digitalization of the economy, labor and employment, competition, consumer protection and privacy, among other topics. Given the fast-evolving nature of Platforms, they can be more complex than they appear on the surface and are not always well understood.
To support the policy discussions on Platforms in SEA, Tech for Good Institute has commissioned this report as its first publication with an intention to provide a broad introduction on this topic. In doing so, this report will also set the stage for further work, including subsequent deep-dives into challenges and issues in supporting the Platform Economy in SEA, that will not be covered in detail here.
is a think tank committed to nurturing the positive impact of technology, to harness its full potential to uplift lives in Southeast Asia. It is a non-profit founded by Grab, Southeast Asia’s leading superapp. The Institute seeks to create dialogue to foster common ground on the impact of technology on society and policy. It supports action-based, insights-oriented research that demonstrates how technology addresses social concerns. It also serves as a platform to enhance capabilities that facilitate the understanding of technology’s impact in Southeast Asia. We believe this exchange of ideas and research is invaluable to the growth and development of technology in Southeast Asia, and the region itself.
is a global consultancy that helps the world’s most ambitious change makers define the future. Across 61 offices in 38 countries, we work alongside our clients as one team with a shared ambition to achieve extraordinary results, outperform the competition, and redefine industries. We complement our tailored, integrated expertise with a vibrant ecosystem of digital innovators to deliver better, faster, and more enduring outcomes. Our 10-year commitment to invest more than $1 billion in pro bono services brings our talent, expertise, and insight to organizations tackling today’s urgent challenges in education, racial equity, social justice, economic development, and the environment. We earned a gold rating from EcoVadis, the leading platform for environmental, social, and ethical performance ratings for global supply chains, putting us in the top 2% among other consulting firms. Since our founding in 1973, we have measured our success by the success of our clients, and we proudly maintain the highest level of client advocacy in the industry.
]]>The Inclusive Cities Barometer, developed by Cushman & Wakefield, is a transformative framework designed to evaluate and foster inclusivity within urban environments across the Asia-Pacific region. As cities continue to grow and evolve into global economic powerhouses, the need for inclusive development has become more apparent. Today, over 57% of the world’s population lives in urban areas, and cities generate approximately 80% of the global GDP. Against this backdrop, creating cities that are accessible, equitable, and vibrant for all citizens has become a pressing priority.
The Inclusive Cities Barometer was born from a vision of urban spaces that prioritize the well-being and participation of all individuals, regardless of socioeconomic background, gender, age, or ability. By providing a data-driven approach, the Barometer seeks to: (1) Identify gaps in urban inclusivity. (2) Offer actionable insights for policymakers, urban planners, real estate developers, and other stakeholders. (3) Encourage cities to adopt sustainable, inclusive practices that benefit residents and the environment.
Rather than a traditional ranking system, which often fosters competition without considering unique cultural and geographical contexts, the Barometer emphasizes progress and potential. This approach acknowledges the diversity of starting points across cities and celebrates incremental advancements towards inclusivity.
An inclusive city is an urban environment designed to ensure equitable access to resources, opportunities, and services for all its residents. It reflects values such as diversity, equity, and accessibility, enabling citizens to lead independent, productive, and dignified lives. Inclusive cities strive to:
Eliminate barriers to participation, particularly for marginalized or vulnerable groups.
Promote social justice through the equitable distribution of housing, healthcare, education, and employment opportunities.
Enhance urban livability by integrating green spaces, universal design, and cultural vibrancy.
Diversity and Equity: Ensuring fair representation and opportunities for all demographic groups, including minorities, women, and individuals with disabilities.
Accessibility: Providing reliable, affordable public transportation and housing options close to employment and amenities.
Sustainability: Integrating climate resilience and green infrastructure into urban planning to create healthier, future-ready environments.
The Barometer is a comprehensive tool that assesses 35 major cities across the Asia-Pacific region, covering over 80% of the region’s Grade A office space and representing the most dynamic urban centers. It evaluates inclusivity through 110 metrics organized into four main dimensions:
Social Inclusivity: Focuses on access to healthcare, education, and mental well-being, as well as diversity and tolerance.
Economic Inclusivity: Examines job availability, fair wages, financial inclusion, and efforts to reduce poverty.
Spatial Inclusivity: Evaluates urban planning factors like housing affordability, public transport connectivity, and safety.
Environmental Inclusivity: Measures sustainability initiatives, pollution levels, and climate resilience.
Each dimension is further divided into 11 sub-dimensions, offering a granular view of urban inclusion. By collecting and analyzing nearly 4,000 data points from reputable sources like the United Nations and the World Bank, the Barometer establishes a robust framework for evaluating cities.
The barometer's evaluation process incorporates:
Data from reputable global sources, such as the World Bank and the United Nations.
Categorization of metrics into 11 sub-dimensions, such as health, education, housing, and safety.
Weighting of variables to provide an objective and comprehensive analysis.
Cities are grouped into personas based on their inclusivity journey:
Mature Urban Centres: Advanced cities with strong social policies (e.g., Melbourne, Tokyo).
Social Drivers: Cities with strong social inclusion but ongoing challenges in wealth equality (e.g., Sydney).
Rapid Risers: Cities rapidly advancing inclusivity initiatives (e.g., Jakarta, Hanoi).
Emergers: Cities beginning their journey toward inclusivity (e.g., Karachi, Dhaka).
Best Performing Cities
Melbourne, Australia:
Recognized as the overall best performer, excelling in social and spatial inclusiveness.
Strong multicultural policies and environmental sustainability plans.
Tokyo, Japan:
Premier financial hub with robust economic inclusiveness.
Low unemployment and strong social security frameworks.
Singapore:
Outstanding spatial inclusiveness with innovative urban design.
Exceptional public transport and low crime rates.
Wellington, New Zealand:
Leader in environmental inclusiveness, with strong air quality and green energy initiatives.
Challenges Across APAC
Urban segregation and unequal resource distribution remain key issues.
Aging populations in some cities (e.g., Japan) and overpopulation in others (e.g., Dhaka).
Environmental challenges like air pollution and inadequate climate adaptation in many regions.
Urban inclusivity is more than a moral imperative—it is a strategic advantage. Inclusive cities are better positioned to:
Attract and retain talent by fostering a sense of belonging and community.
Encourage innovation and investment, which drive economic growth.
Build resilience to challenges such as climate change, aging populations, and social unrest.
Cities that prioritize inclusivity tend to see positive ripple effects across various sectors:
Economic Growth: By connecting marginalized communities to jobs and resources, cities enhance productivity and reduce inequality.
Health and Well-being: Accessible healthcare, green spaces, and walkable infrastructure promote physical and mental health.
Social Stability: Equitable resource distribution minimizes social tensions and promotes cohesion.
Raise Awareness: Highlight the importance of inclusivity and its impact on urban development.
Guide Stakeholders: Provide actionable recommendations for governments, businesses, and communities.
Track Progress: Offer a framework for cities to measure their progress toward inclusivity over time.
Encourage Collaboration: Promote partnerships between real estate developers, urban planners, policymakers, and citizens to address complex urban challenges.
Through this innovative tool, Cushman & Wakefield aim to redefine urban development by placing inclusivity at the forefront of decision-making. The Barometer’s focus on equity and sustainability aligns with global priorities, including the United Nations’ Sustainable Development Goals (SDGs), ensuring that cities are not only economically vibrant but also socially just and environmentally responsible.
(1) Culture-Powered Public Spaces: Inclusivity, Growth, Resilience (UNESCO)
"Organized on 7 November 2024 by UNESCO as part of the 12th edition of the World Urban Forum (WUF), convened by the United Nations Human Settlements Programme (UN-Habitat), this One UN side event on Culture-powered Public Spaces: Inclusivity, Growth, Resilience will explore diverse ways in which urban stakeholders – across UN agencies, from UN-Habitat to OHCHR and FAO – are leveraging cultural assets for inclusive, prosperous and resilient public spaces. Culture-based initiatives from around the world are breaking new ground in the urban sphere – from design for eco-friendly solutions and urban regeneration, to creative mobility, cultural events, and art in the public space. Public spaces are also serving as creative platforms for artists to express their creativity and raise awareness about societal issues. Culture-embedded public spaces provide multiple opportunities for everyone to utilize them, engage in decision-making processes, and share in their benefits. "
(2) Inclusive Cities: Urban Area Guidelines (The Asian Development Bank (ADB), 2022) is the first of its kind, prepared to support the development of inclusive cities that are accessible for all. Initially driven by the accessible tourism agenda in Georgia, the guidelines have evolved to provide guidance on inclusive city design and the implementation of universal standards applicable to Georgia.
(3) All Inclusive Cities (TedTalk, 2016)
SEA Junction, or Southeast Asia Junction, is a cultural center based in Bangkok, Thailand, dedicated to fostering understanding and appreciation of Southeast Asia’s diverse socio-cultural dimensions, including arts, crafts, economy, and development. Established in 2018 as the core activity of the Foundation for Southeast Asia Studies, a registered non-profit Thai foundation, SEA Junction enhances public access to knowledge resources and promotes exchanges among students, specialists, and enthusiasts of Southeast Asia.
Strategically located at the Bangkok Art and Culture Centre (BACC), SEA Junction serves as a public venue and informal space where individuals interested in the region’s art, culture, and societies can meet, share information, consult available resources, and read related literature at their leisure. The center functions as a reading room with a collection of books on Southeast Asia, organizes events such as meetings, seminars, and workshops, and profiles emerging artists and intellectuals from the region.
SEA Junction operates as a not-for-profit, collective effort born out of contributions from its founder and a number of founding partners. Its functioning and development also depend on public support, encouraging individuals to become Friends of SEA Junction to help sustain its mission of fostering greater knowledge of Southeast Asia and creating opportunities for cross-learning and exchanges.
Through its various activities, SEA Junction aims to bring socio-cultural and development issues to the general public, facilitating public access to knowledge resources and promoting exchanges among students, practitioners, and Southeast Asia enthusiasts.
SEA Junction engages in various projects and special initiatives to promote understanding and appreciation of Southeast Asia’s socio-cultural dimensions. Notable projects include:
1. Small Grants Program: “Staying Resilient Amidst Multiple Crises in Southeast Asia”: This program supports community-led initiatives that build resilience against health, political, socioeconomic, and environmental crises. Since its inception in 2020, it has funded projects across Southeast Asian countries, addressing issues like climate change, human rights violations, migration, and education.
2. “70Rai Project”: A photographic documentation by Yoonki Kim, capturing life stories in Bangkok’s Khlong Toey district. The project offers insights into the resilience and solidarity of the community’s residents.
3. Written and Visual Essay Competition: “Which Road for Southeast Asia?”: Launched to commemorate the 56th Anniversary of ASEAN, this competition invites emerging writers and artists from Southeast Asia to reflect on the region’s future and ASEAN’s role in addressing current and emerging issues.
4. Special Initiatives: SEA Junction undertakes various special programs, such as visual essays on key
Southeast Asian issues and storytelling projects like “From Fear to Resilience: Storytelling of COVID-19 in Southeast Asia,” which documents community resilience during the pandemic.
Through these projects, SEA Junction fosters public access to knowledge resources and promotes exchanges among students, specialists, and enthusiasts of Southeast Asia.
아세안 회원국(ASEAN Member States, AMS)의 미래는사회적, 경제적, 정치적 삶의 모든 측면을 아우르는 무한한 가능성으로 가득 차 있다. 기술 발전의 전례 없는 속도로, 우리에게 이 미지의 영역은 혁신적인 접근과 민첩한 적응을 요구하고 있다. 인간 경험에 대한 기술의 광범위한 영향력을 이해하기 위해선 새로운 환경을 탐색하고 그 기회를 포착하는 것이 미래에는 필수적인 힘이 될 것이다. 그러나 디지털 시대의 정보 홍수 속에서 AMS는 잘못된 정보와 가짜 정보의 확산이 초래할 수 있는 전 세계적인 피해와 해로운 결과라는 엄청난 위험에 직면해 있다.
그동안 여러 보고서, 마스터 플랜 및 정책 브리프는 아세안 지역을 디지털 커뮤니티 및 경제의 선도적인 주체로 전환하는 비전을 제시해왔다. e-아세안 프레임워크 협정(e-ASEAN Framework Agreement, 2000)은 정보통신기술(ICT)과 전자 상거래의 잠재력을 아세안 국민에게 혜택이 될 수 있도록 하는데 그 목적을 두고 있었다. 이 프레임워크는 디지털 통합의 중요성을 강조하고 AMS 간의 협력적 노력이 디지털화(digitalization)의 도전을 해결하고 혜택을 극대화할 필요성을 다룬 <ASEAN 디지털 전환 보고서>(ASEAN Digital Transformation Report, 2022)와 일치한다. 다른 보고서인 <플랫폼 경제: 동남아시아의 디지털 성장 동력>(Platform Economy: Southeast Asia’s Digital Growth Catalyst ,2021)는 디지털 플랫폼이 동남아시아의 디지털 성장에서 중요한 역할을 한다는 통찰을 제공하며, 특히 경제생태계의 활성화와 수입 기회를 창출하는 데 중요한 역할을 한다고 강조한다.
AMS는아세안의 디지털화를 추진하는 과정에서 정책적 위험과 상업화 문제의 중요성도 함께 인식하고 있다. 이러한 문제는 초국가적 데이터 이동(cross-border data flows), 파편화된 데이터 보호 프레임워크(fragmented data protection frameworks), 불완전한 인프라 개발(infrastructure development), 지정학적 및 공급망 위험(geopolitical risks & supply chain risks) 등으로 나타난다. 이 보고서는 디지털 불평등(digital inequality)이라는 긴급한 문제를 다루며, 디지털 격차(digital divide), 디지털 리터러시(digital literacy), 잘못된 정보(misinformation, disinformation)의 해로운 결과에 대한 아세안 회원국의 영향을 복합적으로 엮어 설명한다. 디지털 격차는 새로운 현상이 아니지만, 얀 반 다이크 Jan van Dijk 네덜란드 트벤테 대학교(University of Twente) 커뮤니케이션학과 교수는 단순히 디지털 기술에 대한 접근 문제만이 아니라 사회적 문제로, 사회의 다양한 영역에서 참여(societal participation)에 영향을 미치며 불평등, 포용, 안전 문제등 포괄적 성격을 갖는다고 주장한다. 디지털 격차에 관한 연구와 프로그램은 보통 저소득층, 낮은 교육 수준을 가진 사람을 중심으로 다루어졌으나, 최근에는 더 높은 교육을 받은 사람들, 예를 들어 고등교육 이상의 학생과 교수와 같은 특권층에 대한 연구도 진행되고 있다. 따라서 이 보고서는 디지털 격차의 다면적 특성(multifaceted nature)을 전제로 접근성, 기술, 사용, 불평등 및 사회적 참여의 차원을 포괄적으로 다루고자 한다.
다음으로, 이 보고서는 아세안 권역 내 디지털 포용의 복잡성을 강조하면서, 아세안 회원국 내 저소득층 커뮤니티가 겪고 있는 불리하고 불합리한 상황과 그들이 배운 교훈의 교차점을 중요하게 다루고자 한다. 저소득층 커뮤니티 내부에서 어떻게 잘못된 정보와 가짜 뉴스를 지속적으로 대응하고, 그들의 생태계에서 집단적인 회복력을 구축할 수 있는지에 대해 논의할 것이다. 이번 보고서의 목적과 목표는 디지털 격차와 디지털 리터러시 간의 상호 연결 관계를 규명하고, 이 두 요소가 아세안 내 저소득층 커뮤니티에서 잘못된 정보에 대한 민감도와 반응에 어떤 영향을 미치는지에 대해 논한다.
첫째, 보고서는 10개 아세안 회원국에서 저소득층 커뮤니티 구성원(특히 청년(18-35세)과 노인(55세 이상))의 디지털 리터러시 수준을 평가한다. 둘째, 보고서는 저소득층 커뮤니티 구성원(특히 청년과 노인) 및 사회화 과정의 주요 행위자(socialisation agents)인 교육자(educators), 학교장(heads of schools), 정부 공무원(government officials), 그리고 저소득층 커뮤니티 지도자들이 어떻게 잘못된 정보를 대처하고 있는지 분석한다.
이러한 목표를 달성하기 위해, 보고서는 다음과 같은 질문에 답하고자 한다:
저소득층 커뮤니티에서 특히 청년과 노인이 거주하는 지역의 디지털 리터러시 현황은 어떠한가?
디지털 리터러시 기술이 저소득층의 청년, 노인이 잘못된 정보를 식별하고 대응하는데 어떤 역할을 하고 있을까?
아세안 회원국 내저소득층 커뮤니티 그룹별로 잘못된 정보와 관련된 주요 이슈는 무엇인가?
저소득층 커뮤니티 그룹이 잘못된 정보에 대응하는 식별 및 대응 메커니즘은 무엇인가?
보고서는 아세안에서 디지털 포용 이니셔티브에서 저소득층 커뮤니티에 대한 관심 부족을 비판적으로 다룹니다. 본 보고서는 이 격차를 해결하기 위해 디지털 리터러시 프로그램과 세부 교육과정에서의 주요 권고사항을 제공한다. 또한 저소득층 커뮤니티의 도전 과제와 필요, 그리고 디지털 세계에서의 참여(participation)를 강조하며, ‘디지털 격차 결정 요인(digital divide determinants)’ 개념을 도입하여 불평등으로 인한 디지털 리터러시 프로그램 개발 및 확산의 주요 장애물을 살핀다. 본 보고서는 디지털 격차와 디지털 리터러시 간의 연계(linkage)를 강조하는 것이 중요하며, 디지털 격차를 결정 요인이 어떻게 잘못된 정보의 사회적 악영향에 더욱 취약한 상태로 만드는지를 분석한다.
이런 맥락에서, 본 보고서는 아세안 회원국의 커뮤니티 내부에서 디지털 격차와 디지털 리터러시 사이에 존재하는 상호적 연결성을 살피고, 두 요소가 어떻게 잘못된 정보와 연관되는지 분석한다. 또한 본 보고서는 저소득층 커뮤니티 구성원의 디지털 리터러시 수준, 특히 청년(18-35세)과 노인(55세 이상)에 대한 현재 상태를 이해하는 기초를 제공하고자 한다. 저소득층 커뮤니티의 인식을 통해, 본 보고서는 아세안 회원국에서 잘못된 정보의 주요 경향성과 관련된 유용한 통찰을 제공하고자 하며, 조기 탐지 및 완화(mitigation)에 관한 후속 연구에 기여하고자 한다. 또한, 본 보고서는 아세안 회원국에 포용적 디지털(digital inclusion)과 디지털 전환(digital transformation)에 대한 정책 결정 과정에 기여하고, 저소득층 커뮤니티가 잘못된 정보에 대응하는 회복력(resilience)을 강화하는 것을 목표로 한다. 저소득층 커뮤니티를 디지털 리터러시 프로그램과 구체적 교육과정을 통해 혁신적으로 강화하고, 디지털 접근과 잘못된 정보를 지속적으로 유지하는 사회적 구조(social structures)적 문제를 해결하는 권고 사항을 제시하고자 한다.
비판적 사고 능력(critical thinking skills)은 아세안 국가별로 차이가 있으며, 태국이 가장 낮은 수준(25%)을 보이고, 캄보디아는 가장 높은 수준(62.2%)을 기록하고 있다. 개인 정보 보호 능력도 변동이 있으며, 필리핀이 가장 낮은 수준(17.42%)을 보이고, 싱가포르가 가장 높은 수준(54.37%)을 보인다. 정보 능력은 태국이 다시 가장 낮은 수준(42.58%)을 기록하고, 라오스가 가장 높은 수준(52.17%)을 보인다. 뉴스 공유에 대한 자신감은 필리핀에서 가장 낮은 수준(24.68%)을 보이고, 미얀마에서 가장 높은 수준(61.2%)을 기록하고 있다. 소셜 미디어에 대한 신뢰는 태국이 가장 낮은 수준(42.97%)을 보이고, 브루나이가 가장 높은 수준(60.4%)이며, 아세안 국가는 이러한 분야에서 매우 다양한 차이를 보인다. 디지털 리터러시 기술의 아세안 회원국 내에서 디지털 격차는 디지털 영역에서의 완전한 참여를 방해하고 경제 및 공공 서비스에 대한 접근을 제한한다. 각국은 고유한 문제를 겪고 있지만, 이러한 유사점과 차이점을 인식함으로써 협력적 해결책을 제시하고 모두를 위한 포용적 디지털을 촉진할 수 있을 것이다. 주요 요소는 다음과 같다.
기술 및 인프라: 인터넷 접근 부족과 디지털 인프라의 불균형적인 분포
언어 장벽: 교육 격차로 인한 언어 장벽
사회 문화적 요인: 성별, 연령, 장애, 그리고 기타 사회적 요인들이 디지털의 불평등한 접근과 참여에 영향
정부 정책 및 이니셔티브: 디지털 포용을 촉진하고 디지털 격차를 위한 정부의 개입 효과는 각국마다 다름
10개 아세안 회원국 내 디지털 격차를 초래하는 다양한 조건이 있다. 아세안에서 디지털 격차를 초래하는 첫 번째 요인는 사회경제적 요인으로, 이는 빈곤, 교육, 그리고 소외된 그룹에 해당합니다. 재정적 제약은 기술 접근(technology access)과 디지털 리터러시를 저해할 수 있으며, 특히 브루나이, 미얀마의 난민, 그리고 필리핀에서 두드러진다. 낮은 교육 수준은 라오스, 말레이시아 원주민, 그리고 농촌 지역의 디지털 기술 부족 특히 인프라와 관련이 있다. 소외는 사회적 배제, 언어 문제, 그리고 자원의 부족으로 인해 특히 미얀마의 난민, 말레이시아 원주민, 그리고 도시 빈민에게 영향을 미친다. 아세안 국가 간 디지털 격차의 두 번째 차이 요소는 디지털 기술과 관련 인프라에 대한 접근성입니다. 전기, 인터넷, 디바이스에 대한 접근은 아세안 회원국 내 불균질하며, 베트남과 필리핀의 취약 지역은 비용 장벽에 직면해 있다. 디지털 리터러시 노력도 차이가 있으며, 태국과 싱가포르는 강력한 정부 이니셔티브(government initiatives)를 가지고 있지만, 라오스와 말레이시아 원주민 공동체(Orang Aseli communities)는 그렇지 않다. 디지털 격차의 세 번째 차이는 정치적 및 문화적 요인에서 비롯되고 있으며, 이는 정부 정책, 언론의 자유, 검열), 그리고 기술에 대한 문화적 수용성을 포함한다. 디지털 격차를 해결하려는 정부의 노력은 상이하며, 태국과 싱가포르는 적극적인 반면, 미얀마는 제한된 행동을 보입니다. 검열은 정보 접근을 제한할 수 있으며, 이는 비판적 사고와 디지털 리터러시에 영향을 미치고 있으며, 특히 미얀마와 라오스에서 이 부분은 두드러진다. 또한, 전통적 관점과 낮은 기술 인식은 아세안의 농촌 지역에서 디지털 채택을 둔화시키는 요인이다.
잘못된 정보(misinformation)와 허위 정보(disinformation)의 정의본 연구에서 잘못된 정보(misinformation)는 의도하지 않게 잘못된 정보를 공유하는 것을 의미하며, 이는 종종 오류나 오래된 지식으로 인한 것입니다. 이는 허위 정보(disinformation)와 대조되는데, 허위 정보는 의도적으로 잘못된 정보를 퍼뜨리는 것을 의미합니다. 본 보고서는 두 개념을 구별하는 것의 중요성을 강조하며, 특히 글로벌 정보의 방대한 흐름과 잘못된 정보가 의도적인 허위 정보로 발전할 가능성에 대해 언급하고 있습니다. 저소득층 커뮤니티 구성원들은 허위 정보가 의도적으로 창작되어 퍼져나가며, 이는 대중의 의견을 잘못 인도하고 조작하거나 특정 이익을 위해 사용된다고 설명합니다. 허위 정보는 의도적인 거짓말을 포함하며, 진짜 정보와 섞여 현실에 대한 인식을 복잡하게 만들 수 있습니다. 그 목적은 종종 개인적이거나 이념적인 이익을 위해 사실을 왜곡하는 데 있습니다. 본 보고서는 10개 회원국에서 저소득층 커뮤니티 내 잘못된 정보의 주요 이슈를 강조하고 있다. 이러한 트렌드는 각 국가 장에서 별도로 세심히 논의되며, 각 AMS에서 잘못된 정보로 인한 위험을 완화하기 위한 정부의 대응도 다루고 있다. 선택된 주요 트렌드는 저소득층 커뮤니티 구성원이 정의한 허위 정보의 내용에 따라 달라질 수 있음을 인식하는 것이 중요하다. 본 연구에서 잘못된 정보, 허위 정보, 가짜 뉴스는 사회에 미치는 광범위하고 해로운 영향을 명백히 보여준다. AMS 전역의 저소득층 커뮤니티 구성원들은 잘못된 정보가 정신 건강, 관계, 경제적 안정, 그리고 사회적 신뢰를 훼손할 수 있다는 점을 인식하고 있다. 이러한 결과는 불안, 불안정성, 신뢰의 상실, 그리고 국가적 및 개인적 안전에 대한 위협, 경제적 영향, 가족 및 사회 역학에 대한 간섭으로 나타난다.
저소득층 커뮤니티의 취약성은 상대적으로 허위 정보에 노출이 쉽고, 인신매매와 경제적 착취와 같은 다양한 위험에 노출되게 만든다. 아세안의 맥락에서, 소셜 미디어 플랫폼의 규제되지 않은 특성은 이러한 문제를 악화시킨다. 합법적인 정보와 잘못된 정보를 구별하는 데 필요한 분별력의 상실은 잘못된 정보로 가득 찬 문화를 만들어 내며, 이는 감정과 행동에 광범위한 영향을 미친다. 본 연구는 다음과 같은 구체적인 영향을 다룬다: 사회 질서와 국가 안보를 위험에 빠뜨리며, 오해와 분열을 조장하고, 정부에 대한 신뢰를 저하시킨다. 또한, 개인에게 심리적이고 정서적인 영향을 미치고, 경제적 및 개인적 피해를 일으키며, 선거 기간 동안 정치적 인식에 영향을 미친다. 나아가, 본 연구는 잘못된 정보와 허위 정보가 기존의 편견을 증폭시키고, 사회를 양극화시키며, 심지어 현실에서 폭력을 초래할 수 있음을 강조하며, 이는 모든 사회적 수준에서 정신적 태도, 행동 양식, 사회 복지에 미치는 심각한 영향을 나타내는 것이다.
ASEAN 회원국(AMS)의 저소득층 커뮤니티가 잘못된 정보(mis/disinformation)를 식별하고 대응하는 방식에 기여하는 주요 요인은 다면적이며 이러한 커뮤니티의 고유한 맥락에 깊이 뿌리내리고 있습니다. 이러한 요인에는 다음이 포함됩니다:
문화적 차이(Cultural Variation): 각 국가와 그 국가의 저소득층 커뮤니티는 잘못된 정보에 대한 인식을 형성하는 고유한 문화적 맥락, 가치관, 규범을 가지고 있습니다.
언어 다양성(Language Diversity): 다양한 언어와 의사소통 방식은 특정 저소득층 커뮤니티 그룹이 정보에 접근하고 이해하며 공유하는 방식에 영향을 미쳐 잘못된 정보의 확산에 영향을 줍니다.
사회경제적 격차(Socioeconomic Disparities): 저소득층 커뮤니티 간 사회경제적 지위와 자원 접근성의 차이는 정보에 대한 비판적 분석 능력과 잘못된 정보에 대한 취약성에 영향을 미칩니다.
정부 정책 및 미디어 환경(Government Policies & Media Landscape): 다양한 정부 정책, 미디어 규제, 전반적인 미디어 환경은 특정 저소득층 커뮤니티 그룹 내에서 잘못된 정보의 유행에 영향을 미칩니다.
저소득층 커뮤니티 역학(Underprivileged Community Dynamics): 저소득층 커뮤니티 내에서 사회적 구조, 지도력 역할, 의사결정 과정 등의 역학은 각 커뮤니티마다 다르며, 잘못된 정보가 어떻게 퍼지고 반응하는지에 영향을 미칩니다.
역사적 및 정치적 영향(Historical & Political Influences): 각 AMS와 저소득층 커뮤니티의 역사적, 사회적, 정치적 배경은 정보 출처에 대한 신뢰 수준과 잘못된 정보에 대응하는 방식에 영향을 미칩니다.
10개 ASEAN 회원국에서 본 보고서는 저소득층 커뮤니티가 잘못된 정보를 어떻게 식별하고 그 메시지의 신뢰성을 어떻게 평가하는지 다룬다. 본 보고서는 평가 과정에 기여하는 네 가지 주요 지표를 설정했다.
정보의 출처: 정보의 출처나 제공자는 신뢰성에 큰 영향을 미칠 수 있습니다.
내용의 제시 방식: 정보가 어떻게 제시되는지, 예를 들어 언어, 구조, 출처, 자료 등 포함여부와 신뢰성 영향
배포 경로: 정보가 전달은 뉴스 매체, 소셜 미디어, 공식 보고서 등이며, 이는 도달 범위와 진위를 결정하는 요인
커뮤니티의 영향력: 네트워크의 영향력은 정보의 지지, 확산, 의견을 통해 신뢰성에 영향
이 네 가지 지표는 정보의 신뢰성 평가(credibility assessment)에 영향을 주며, 신뢰할 수 있는 정보(credible information)는 신뢰할 수 있고 정확한 정보인 반면, 잘못된 정보(misinformation)는 거짓이거나 오해를 일으킬 수 있는 정보를 의미한다. 그럼에도 불구하고 디지털에 대한 지속적 접근과 활용이 큰 제약이 있는 소외계층, 노인, 농촌 지역 등은 일회적 노출에 큰 영향을 받을 수도 있다.
본 연구를 통해 아세안 10개국이 잘못된 정보(misinformation)와 허위 정보(disinformation)에 대응하기 위해 다양한 전략과 거버넌스를 사용하고 있으며, 지역 내에서 일관된 접근법이 없다는 점을 확인했다. 일부 국가는 중앙 집중형 기관을 통해서, 다른 국가는 협력적 또는 지역적인 이니셔티브를 선호한다. 이러한 다양성을 인식하는 것이 아세안 회원국이 이 문제를 어떻게 다루는지 이해하는 데 중요하다. 예를 들어, 태국의 가짜 뉴스 대응 센터는 잘못된 정보 관리에 있어 중앙 집중적인 접근 방식을 나타내며, 검증과 인식 제고에 중점을 둔다. 한편, 베트남과 싱가포르는 여러 기관이 참여하는 협력적인 방법을 사용하여 잘못된 콘텐츠 식별, 교육, 규제, 그리고 사이버 공간 모니터링을 수행한다. 필리핀은 국가 수준의 거버넌스 기관에 중점을 두고 있지만, 케손시의 공공정책 및 정보 서비스 부서와 같은 지역적인 노력을 통해 잘못된 정보를 다루는 탈중앙적인 접근 방식을 사용한다. 케손시의 경우 공동도서관에서 디지털 리터러시 프로그램을 제공하는 한편, 기업과 함께 노인을 위한 별도의 프로그램을 실행하기도 한다. 아세안 회원국은 잘못된 정보에 대응하는 방식에서 차이를 보인다.
라오스는 기존의 사이버 법을 바탕으로 접근 방법을 개발 중에 있지만, 더 강력한 전략이 필요하다.
캄보디아는 정부와 NGO의 노력을 바탕으로 중앙 집중화된 기관 없이 잘못된 정보에 대응하고 있으며, 이는 통합된 프레임과 관리가 필요할 수 있음을 시사한다.
인도네시아의 정보통신부(Ministry of Communication and Information Technology)는 다른 기관과 함께 문제를 다루고 있으며, 이는 분산된 책임을 의미한다.
브루나이는 중앙 권한이 없으며, 디지털 리터러시 부서의 집중적인 필요성이 제기되고 있다.
본 보고서는 아세안 전역에서 특히 취약하고 저소득층 그룹을 위한 디지털 리터러시 교육이 여전히 체계적이지 못하고 목정확한 목표를 가지고 있지 않다고 지적하고 있다. 이 보고서는 디지털 격차를 해소하고 빈곤과 잘못된 정보 문제를 해결하기 위한 포용적이고 종합적인 프로그램의 필요성을 강조하고 있다. 보고서는 특히 말레이시아의 원주민, 미얀마의 난민 등 소외된 커뮤니티를 위한 디지털 리터러시 향상을 위한 정부의 행동과 지역사회의 지원을 촉구하며, 그들이 온라인에서 정확한 정보를 구별할 수 있는 능력을 갖출 수 있도록 해야 한다고 주장하고 있다.
아세안 내 디지털 리터러시의 상황은 지역에 따라 다르며, 현재 말레이시아, 싱가포르, 베트남은 공식적인 프로그램을 운영하고 있다. 말레이시아의 MCMC(Malaysian Communications and Multimedia Commission)는 디지털 리터러시를 규제하고, 싱가포르의 IMDA(Infocomm Media Development Authority)는 "Digital for Life" 프로그램을 통해 디지털 기술을 증진시키고 있습니다. 베트남은 정보통신부에 디지털 리터러시를 위탁하고 있습니다. 그러나 다른 ASEAN 회원국들은 아직 이에 뒤처져 있습니다.
라오스, 필리핀, 태국은 디지털 리터러시를 여러 기관이 협력하여 진행하고 있다. 라오스는 사이버 부서, 사이버 보안, 기술 부서를 통해 운영하고 있으며, 문화부, 관광부, 기술부와의 협력이 이루어질 가능성도 있다. 필리핀은 교육부, 고등교육위원회, 기술 교육 및 기술 개발청을 통해 디지털 리터러시를 통합하고 있다. 태국은 디지털 경제 사회부와 가짜 뉴스 대응 센터를 통해 국가 차원에서 미디어 리터러시를 추진하고 있다. 그러나 브루나이, 캄보디아, 인도네시아, 미얀마의 정부는 국가 차원에서 구조화된 디지털 리터러시 프로그램을 제공할 관리 기관이 없는 실정이다. 비정부기구(NGO)의 독립적인 노력으로 디지털 리터러시 교육이 제공되고 있지만, 체계화된 디지털 리터러시 프로그램을 관리하고 지원할 국가 전략이나 규제 기관이 부족한 실정이라 할 수 있다.
아세안 지역에서 잘못된 정보와 허위 정보를 더욱 효과적으로 방지하기 위해 시작된 이니셔티브로, Google.org의 150만 달러 지원을 받아 아세안 재단이 2023년까지 2년간의 프로그램을 운영했다. 이를 통해 ASEAN 10개국에서 1,000명 이상의 트레이너에게 미디어 및 정보 리터러시 기술을 제공하고, 이들이 지역사회에서 10만 명 이상의 수혜자들에게 교육할 수 있도록 했다. 유네스코(UNESCO)는 아시아 태평양 지역에서 비판적 사고, 문화적 다양성 존중, 개방적 대화를 증진하기 위해 미디어 리터러시를 중요한 요소로 강조했지만, 교사들을 위한 훈련 부족은 대규모 미디어 리터러시 교육을 실행하는데 가장 큰 장애물 중에 하나라고 지적했다. 아세안은재단 디지털 리터러시를 강화하고, 사람들이 온라인에서 잘못된 정보와 허위 정보를 퇴치할 수 있는 변화를 이끄는 주체로 변모하는 데 중요한 이정표되는 프로젝트를 지속적으로 실행할 계획이다. 아세안 재단은 지난 2년간 10개국의 현지 실행 파트너와와 협력하여 맞춤형 교육과정을 개발하고 이를 지역 트레이너들에게 전달하는 방식으로 시행하였다. 미디어 및 정보 리터러시에 대한 교육 외에도 청소년 자문 그룹 창설, e-러닝 플랫폼 구축 등 주요 활동을 함께 진행했다.
Exploring the Digital Landscape in Malaysia (UNISEF, 2014)
Access and use of digital technologies by children and adolescentse-ASEAN FRAMEWORK AGREEMENT (ASEAN Secretariat, 2000)
Learning in a Post-Truth World (Mohamed Mstagir & James Siderius, 2021)
Mapping and Analysis of Efforts to Counter Information Pollution (UNDP, 2022)
]]>Sa Sa Art Projects(2011~2024)(1) has launched Cambodian Contemporary Visual Artists (CCVA), an online platform that brings visibility to contemporary Cambodian visual artists. The project, made up of a small team of artists, arts managers, and creatives based in Cambodia, recognises a need to build bridges between different generations of artists and increase their exposure to audiences near and far.
They created a platform to enable a more connected arts community, where artists can benefit and grow through knowledge of each other’s work. Their aim is that by creating this platform they can work towards meaningful connections, stronger networks, and opportunities that will support the long-term development of contemporary Cambodian visual art.
"We created this platform to enable a more connected arts community, where artists can benefit and grow through knowledge of each others’ work and existence. We believe this is a step toward meaningful connections, stronger networks, and opportunities that will support the long-term development of contemporary Cambodian visual art. In doing so, we are building meaningful connections, stronger networks, and opportunities that will support the long-term development of contemporary Cambodian visual art. "
The website, available in both Khmer and English, is designed to be a knowledge hub and to bridge the gaps. It allows researchers, curators, art collectors, and anyone interested in learning more about contemporary Cambodian art an entry point into the work of artists active in today’s visual arts community.
Sa Sa Art Projects is an artist-run initiative dedicated to experimental and critical contemporary art practices. It was founded in 2010 by the arts collective Stiev Selapak and operated from a historic and vibrant apartment complex known as the White Building in Phnom Penh until 2017, when the building was demolished for new development.
At its new location, Sa Sa Art Projects has shifted toward a stronger engagement with Cambodian young artists and art graduates while continuing to build a deeper dialogue with artists within Asia through its creative education programs, exhibitions, its signature Pisaot artist residency, and other collaborative projects. With its activities, Sa Sa Art Projects addresses Cambodia’s lack of infrastructure for contemporary art education and engagement. By not being bound to a rigid organizational structure, Sa Sa Art Projects is able to evolve organically and adapt to the changing context and needs of the communities it works with. (Documenta)
(1) “Founded with the aim of filling the gap in contemporary art ecology in Cambodia, the lack of art spaces run by Cambodians, art education and mode of art engagement with the public, we developed and ran art classes, art residencies, exhibitions, festivals, and other special collaborative projects with visual artists and other creative practitioners in Cambodia and beyond, As practicing artists, we co-founded Sa Sa Art Projects and saw Sa Sa as a form of art itself, how collectively we could develop a mechanism to support the art scene and foster a healthier ecology, including a new generation of critical contemporary artists, while making connections with the world. After 14 years, we are incredibly proud to see many artists who came through our programmes have now moved on in their respective practices, and actively engaged in exhibitions, residencies, awards and projects in Cambodia, regionally and internationally.” (director and co-founder, Lyno Vuth. On April 26, 2024)
-Source from, https://kiripost.com/stories/sa-sa-art-projects-closes-after-14-years
Further Reading
A Presentation by Vuth Lyno: Sa Sa Art Projects(March 2, 2024 @Asia Art Archive in America)
https://www.aaa-a.org/programs/a-presentation-by-lyno-vuth-sa-sa-art-projects
]]>The CULTURAL INTELLECTUAL PROPERTY RIGHTS INITIATIVE® is designed to be a worldwide movement supporting the recognition of cultural intellectual property rights® for craftsmen and women who are the custodians and transmitters of traditional garments, traditional designs and traditional manufacturing techniques.
This Initiative was born in April 2018 from the need to eliminate culturally appropriative behaviour in the fashion industry with a vision to create a system that nurtures, sustains and protects Traditional Knowledge and Traditional Cultural Expressions.
The Initiative's mission is to act as a mediator in relationships between different stakeholders in the fashion and craft ecosystem, and to support cultural sustainability as a form of education and promotion of cultural heritage and Traditional Cultural Expressions.
SECURING CULTURAL INTELLECTUAL PROPERTY RIGHTS FOR THE OMA PEOPLE OF NANAM VILLAGE IN LAOS
In April 2019 the Traditional Arts and Ethnology Centre in Laos (TAEC) discovered that the Italian fashion company Max Mara was selling clothing decorated with patterns that looked identical to the traditional embroidery and appliqué designs of the Oma people.
The Oma are an ethnic minority group of about 2,800 people living northern Laos, recognised in the region for their hand-spun, indigo-dyed clothing decorated with vibrant red embroidery and appliqué.
Unlike the authentic Oma designs, the Max Mara replica patterns were printed on the fabric, not hand-embroidered or hand-sewn.
This work supports the Oma to gain the rightful recognition of their custodianship of their identity designs and ensure that use of their cultural intellectual property does not happen without the consent of the Community and without compensation.
Read more about the Oma Case and Max Mara's response to the design plagiarism allegations in the White Paper Report Documenting Traditional Cultural Expressions: Building a Model for Legal Protection Against Misappropriation and Misuse with the Oma Ethnic Group of Laos (Boța-Moisin and Gujadhur, 2021).
In May 2019 TAEC became a member of the Cultural Intellectual Property Rights Initiative® (CIPRI) and since then, TAEC has partnered with CIPRI and have been awarded a Voice Sudden Opportunity Grant to support the Oma in documenting their traditional motifs and to raise awareness among other artisan groups, creating educational videos, and developing a model to defend cultural intellectual property rights®. The Project "Securing Cultural Intellectual Property Rights for the Oma of Laos - Traditional Design Digital Library" was funded by Voice under the Laos Sudden Opportunity Grant – V-19100-LA-SO and advocates for the recognition of collective rights for custodians and transmitters of TK and TCEs, referred to as cultural intellectual property rights®. The goal of this collaborative work is to ensure the Oma ethnic group has control of their heritage, is part of discussions and negotiations, is credited for their textile designs, and can benefit from the use of their designs.
]]>Creativity is always part of Indonesia’s way of life. Rich tradition, multicultural situation, vibrant
population and dynamic economy are greatest assets to Indonesia’s creative economy. Indonesia
first recognized the potential of creative economy in the wake of 2008-2009 global economic crisis, when the country established the Ministry of Tourism and Creative Economy (MoTCE) in 2011, in an attempt to build a resilience and pursue economic diversification.
Indonesia is among the first countries to have a ministry which specifically handle creative economy. Matters related to creative economy were administered by the Agency for Creative Economy (BEKRAF/Badan Ekonomi Kreatif ) during the period of 2014 – 2019, before returned to the MoTCE from 2019 onwards. In 2019, the Indonesian Parliament adopted Law No. 24 Year 2019 on Creative Economy. Under the Law, creative economy is defined as an “embodiment of the added value of intellectual property generated from human creativity, cultural heritage, science and technology.
Indonesia pays significant attention to creative economy, as the sector is highly transformative, in terms of income generation, job creation and export earnings with spillover effects that stimulated innovation in other sectors. In Indonesia, creative economy employs approximately 19.39 million people and contributes about USD 82 billion to GDP. In other parts of the world, creative economy also becomes increasingly more important. It is well-known concept of meaningful contributor to national gross domestic product since the 1990s. Dating back to the financial crisis in 2008, the report from UNCTAD mentions that creative industry had proven itself to be robust. Trade in creative goods doubled from USD 208 billion in 2008 to USD 509 billion in 2015, exceeding the average growth rate at 7%, supported by high growth of design, fashion, and film industries. Now, around the world, there is a widespread trend of shifting the global economy from natural resources-based to human resources-based growth, which significantly relies on creativity and innovation. Before the pandemic, creative economy was one of the fastest growing sectors in every region of the world. According to a UNESCO report, creative economy accounts for 3% of global GDP and generates 2.2 trillion USD annually. Similar to other sectors, creative economy has been hit hard by the COVID-19 pandemic, rising food and energy prices, and the global economic slowdown.
Understanding the fundamental role of networking into creating an enabling environment for creative economy, the Government of Indonesia facilitates the establishment of creative economy networks across Indonesia. One key example of this effort is “Creative Cities” {Kabupaten/Kota (KaKa) Kreatif }. As of 2022, the MoTCE has designated 64 Creative Cities. These Creative Cities were selected after going through rigorous selection process, measured by indicators, such as the existence of creativeeconomy-friendly policies in local government and the number of creative economy communities. The selected Creative Cities receive assistance priorities from the MoTCE, including entrepreneurship workshops, partnership between SMEs and national/ multinational companies, and promotion assistances.
Diplomacy plays an important role to promote creative economy. The Indonesian Ministry of Foreign Affairs has been working closely to support the Ministry of Tourism and Creative Economy, other Government agencies and other stakeholders to foster creative economy. The great potential of creative economy has inspired Indonesia to work to elevating the creative economy into world economic and development agenda. Indonesia’s diplomacy consistently attaches the importance on being “inclusive and sustainable” d i m e n s i o n s o f c r e a t i ve economy. As creative economy is based on individual creativity, it has a huge potential for involving people with diverse backgrounds and experiences. It increases employment opportunities, enhances entrepreneurship and innovation, as well as empowers women, youth and marginalized groups. Such positive dimensions of creative economy could help countries accelerate achievement of SDGs. The great potential of creative economy has inspired Indonesia to work to elevating the creative economy into world economic and development agenda. In that context, Indonesia aspired to work together with the international community to position the creative economy as an inclusive economic paradigm which delivers a significant impact to sustainable development.
To raise a global awareness of the potential interconnection between creative economy and sustainable development, Indonesian MoTCE, supported by MoFA, hosted the 1st World Conference on Creative Economy (WCCE) in Bali, 6 - 8 November 2018. The 1st WCCE carried the theme “Inclusively Creative” which discussed five main issues – (i) social cohesion, (ii) regulation, (iii) marketing, (iv) ecosystem, and (v) creative industry financing. The 1st WCCE 2018 was well attended by participants from 50 countries and international organizations. The Conference successfully adopted the Bali Agenda for Creative Economy, consisting of 21 actions for countries to further advance their creative economy sector. The Bali Agenda aimed to serve as a bridge for connecting countries and cultures and connecting governments and various stakeholders to work together enhancing the significance of the creative economy to national and global SDGs.
In addition to meetings in an intergovernmental setting, the 1st WCCE also facilitated dialogue among various creative economy stakeholders (governments, international organizations, regional organizations, creative economy entepreneurs, business sectors,academics, media, and communities) through a Friends of Creative Economy (FCE). Indonesia hosted other two FCE Meetings to follow up the 1st WCCE outcomes and discuss emerging issues of creative economy in 2019 and 2020. Extensive support from various stakeholders in the 1st WCCE encouraged Indonesia to initiate a draft Resolution to UN General Assembly concerning the relation between creative economy and sustainable development. Co-sponsored by 81 countries, the Resolution was adopted by UN GA as A/RES/74/198 which declared “International Year of Creative Economy for Sustainable Development 2021.”
The Resolution acknowledged the rising role of creative economy on the global stage and highlighted the important role of the creative economy for sustainable development. Furthermore, the Resolution underlined the need for global multi stakeholder cooperation to overcome many obstacles faced in developing the creative economy and called attention to, among others, on: The need to support developing countries in diversifying products and exports, including in creative economy; The necessity to serve protection and promote creative economy sectors by enforcing and protecting intellectual property; and Strengthening the role of creative economy sectors in stimulating innovation, empowering people, and reducing poverty. Unfortunately, three months after the said resolution was adopted, the world was hit by the COVID-19 Pandemic.
Most creative economy sectors were hit hard by the lock down, limitation of people movement and mass gathering. To address pandemic challenges, Indonesia held the 2nd FCE meeting on 11-12 November 2020 which was attended by delegates from 55 countries and 8 international organizations. In that meeting, various stakeholders exchanged information regarding the impact of COVID-19 on the creative economy sectors and shared best practices on the efforts to assist creative economy sub-sectors which were hit hardest by the pandemic. The meeting also encouraged various parties to take advantage of Resolution A/RES/74/198 as a momentum to increase cooperation to mitigate COVID-19 impacts on the creative economy.
Since the beginning of 2022, MoFA, in close cooperation with MoTCE and other stakeholders, organized events to work for achieving concrete collaborations, for example through a Public Discussion in March 2022 and Preparatory Meeting for the 3rd World Conference on Creative Economy (WCCE) in June 2022. The 3rd WCCE was successfully held in Bali, 5–7 October 2022.
Enthusiasm of participants to attend the 3rd WCCE was significantly beyond the prediction. Despite lingering effect of the Covid-19 pandemic and facing threat of a global recession, a significant number of participants came to Bali for that event. More than 1,000 participants registered to the event, with more than 800 participants attended the meeting physically. That figure included foreign participants from 52 countries. Foreign delegates representing their Governments coming from 38 countries, while participants other than Government representatives came from other 14 countries. Foreign delegates included Ministers from 5 countries, Secretary Generals of the Developing-8 and the Indian Ocean Rim Association, and representatives from 5 other international organizations. The high attendance at this event reflected the global acknowledgment to the huge potential of creative economy as an important sector to solve current challenges and a new source of the future economic growth.
The 3rd WCCE’s main events consisted of Ministerial Meeting, Friends of Creative Economy (FCE) Meeting, Plenary, and Expo. Ministers, delegates and participants shared many important and valuable insights on how to unleash the potential of creative economy. Through constructive deliberation, delegates at the Ministerial Meeting adopted an outcome document called “Bali Creative Economy Roadmap 2022.”
1. Integration with Global Recovery Plans: Recognizes the creative economy as a significant driver of economic recovery post-pandemic and a contributor to achieving Sustainable Development Goals (SDGs).
2. Enabling Ecosystems: Encourages the creation of inclusive ecosystems to support all creative economy actors, including women, youth, and vulnerable groups.
3. Creative Economy Hubs: Calls for establishing hubs and centers of excellence to foster collaboration, innovation, and knowledge sharing across regions.
4. Data Strengthening: Focuses on improving national and international data systems to measure the contribution of the creative economy and support decision-making processes.
5. Intellectual Property (IP) Management: Advocates policies to support creative economy players in protecting, managing, and commercializing their intellectual property.
6. Promotion and Global Integration: Aims to facilitate global market access for small and medium-sized enterprises (SMEs) through improved labelling, industrial design standards, and enhanced promotion and matchmaking activities.
7. Digital and Technological Transformation: Encourages reducing the digital divide and adopting digital innovations to empower creative sectors while ensuring fair compensation and rights protection in the digital era.
8. Inclusivity and Capacity Building: Promotes education, research, and innovation programs to develop skills and talents, particularly for jobs of the future.
Implementation and Collaboration
Indonesia committed to translating the roadmap into concrete actions, including capacity-building programs with the World Intellectual Property Organization (WIPO), promotion of creative economy products, and facilitating partnerships between grassroots actors and major industry stakeholders. As part of its ASEAN Chairmanship in 2023, Indonesia also planned to organize the ASEAN Creative Economy Business Forum (ACEBF) II, strengthening regional collaboration.
Conclusion
The Bali Roadmap represents a milestone in positioning the creative economy as a vital contributor to sustainable development and global recovery. Its emphasis on international cooperation, inclusivity, and innovation highlights the sector’s potential to drive socio-economic growth while achieving broader global objectives like the SDGs.
]]>그린 파파야 아트 프로젝트(Green Papaya Art Project) 아카이브는 마닐라 대도시의 현대 예술 생태계와 동남아시아 및 전 세계의 예술가, 연구자, 큐레이터와의 협력에 관한 방대한 자료를 보유하고 있다. 2000년 노르베르토 롤단(피위로도 알려짐)과 도나 미란다에 의해 설립된 그린 파파야 아트 프로젝트는 1980년대 중반부터 아시아 전역에서 시작된 예술가 주도 이니셔티브의 흐름의 하나로, 기존 기관이나 상업적 갤러리의 대안적 모델이 되고자 했다. 대체로 2년마다 예술가 공동체나 단체 및 비영리 기관들이 사라지는 환경 속에서, 그린 파파야 아트 프로젝트는 지속적으로 변모하며 마닐라에서 가장 오래 활동한 예술가 운영 단체로 자리 잡았다.
그린 파파야 아트 프로젝트는 전시 공간으로 시작했지만 곧 오프사이트 프로젝트와 시각 예술을 넘어선 다양한 장르의 프로젝트로 그 성격을 달리하기 시작했다. 운영 문서, 서신, 사진, 비디오, 신문 기사 및 출판물에 나타난 자료는 실험적인 춤과 안무, 영화 상영 및 1일 공연, 그린 파파야 아트 프로젝트와 직접 관련 없는 단체 및 외부 큐레이터와의 협업, 지역 및 국제적 예술가를 연결하는 레지던시 프로그램, 그리고 출판물, 다학제 연구, 노이즈 음악, 실험음악 퍼포먼스와 같은 특별 프로젝트를 포함한다. 그린 파파야 아트 프로젝트는 필리핀의 저명한 아이콘에서 당시 떠오르는 예술가에 이르기까지 수 많은 다양한 장르의 작가를 지역에 소개했으며, 특히 많은 여성 예술가들이 포함되어 있다.
사우스-사우스는 온라인 커뮤니티, 선집, 아카이브이자 글로벌 남반구의 예술가, 갤러리, 큐레이터, 수집가, 기관 및 비영리 단체를 위한 리소스 플랫폼이다. 이 플랫폼은 커뮤니티, 협업, 교류를 중심으로 새로운 공유 가치 체계를 위한 저장소와 공간을 제공한다. 이는 글로벌 사우스의 예술가와 갤러리의 프로그램 및 다양한 예술가의 정보와 작품을 간접적으로 체험할 수 있는 중심 포털로 기능한다.
사우스 사우스는 연중 내내 이벤트를 개최하며, 불확실한 시기에 세계 문화 체계의 불균형을 해결하고, 광범위한 지정학적 맥락에서 탈중심화된 예술 세계를 탐구할 수 있는 기회를 제공한다. 플랫폼의 특별 섹션에서는 대화, 에세이 및 현재 이벤트와 글로벌 상우스와 관련된 주요 전시에 대한 텍스트를 포함하는 인터뷰 기반의 에디토리얼을 지속적으로 제공한다. 아카이브 섹션에는 갤러리, 비영리 단체 및 갤러리, 뮤지엄 등에서 진행된 동시대 미술과 관련된 주요 전시, 텍스트 및 특정한 시점을 강조하는 커뮤니티 기반 아카이브를 제공한다. 2021년 2월 23일부터 3월 7일까지 진행된 플랫폼의 론칭 이벤트 VEZA는 30개국 40개 이상의 도시에서 50개 이상의 갤러리를 모아 현대 미술의 보다 포괄적인 세계관을 제시했다.
얼터너티브 아시아는 아시아 국가에서 활동하는 예술 공간과 단체를 소개하는 온라인 플랫폼이다. 최근 아시아 국가에서는 기존의 뮤지엄과 상업 갤러리의 틀을 벗어나 독자적인 행보를 보여주는 예술 공간에 대한 관심이 증가하고 있다. 이러한 공간은 주로 예술가들이 운영하는 공간으로, 예술 전시에만 국한되지 않고 워크숍, 음악 콘서트, 토크 및 심포지엄과 같은 다양한 이벤트를 개최한다. 얼터너티브 아시아는 아시아에서 동시에 일어나고 있는 독특한 움직임에 초점을 맞추고, 이러한 예술 공간에 대한 보고서와 업데이트 정보를 전 세계와 공유한다. 이 웹사이트는 도쿄 아트 리서치 랩과 도쿄 예술위원회의 인재 개발 프로그램의 일환으로 제작된 “얼터너티브 아시아 플랫폼 Alternative Asia Platform” 연구 개발 프로젝트의 일부로 제작되었다.
]]>The Indonesia Creative Cities Network (ICCN) is a collaborative organization dedicated to fostering creative city development across Indonesia. It unites 211 city and regency initiatives under the coordination of 11 regional coordinators within its central management.
ICCN is committed to realizing the 10 Principles of Creative Cities, which serve as a framework for sustainable urban development. These principles emphasize innovation, inclusivity, and cultural diversity, aiming to enhance the quality of life in urban areas.
Through its extensive network, ICCN facilitates knowledge sharing, capacity building, and collaborative projects among member cities and regencies. This collective effort contributes to the growth of Indonesia’s creative economy and the promotion of cultural heritage.
ICCN’s work is guided by the 10 Principles of Creative Cities, which provide a framework for sustainable urban development. These principles emphasize:
1. Inclusivity: Ensuring participation from all stakeholders in the creative economy, including marginalized groups.
2. Innovation: Encouraging novel approaches to solving urban challenges.
3. Cultural Diversity: Preserving and promoting the rich cultural heritage of Indonesia’s regions.
4. Environmental Sustainability: Balancing creativity with ecological responsibility.
5. Economic Empowerment: Supporting small and medium-sized enterprises (SMEs) and entrepreneurs within the creative economy.
6. Collaboration: Building networks across sectors and regions to share best practices.
7. Education and Capacity Building: Fostering talent development through training programs and mentorship.
8. Technological Integration: Utilizing technology to enhance creative industries.
9. Community Engagement: Strengthening grassroots movements to ensure long-term urban development.
10. Global Connectivity: Positioning Indonesian cities on the global creative map.
These principles provide a holistic approach to city planning and management, ensuring that creativity serves as a catalyst for positive change.
ICCN facilitates various programs and projects to align with its objectives. Some notable initiatives include:
1. Knowledge Sharing: Organizing seminars, workshops, and conferences for member cities to exchange ideas and solutions.
2. Capacity Building: Offering training programs for urban planners, cultural practitioners, and entrepreneurs.
3. Cultural Promotion: Supporting festivals, exhibitions, and events that celebrate Indonesia’s diverse cultural heritage.
4. Creative Economy Development: Encouraging investments and partnerships to boost local creative industries.
5. Sustainable Urban Design: Partnering with cities to implement environmentally friendly practices and innovative urban solutions.
ICCN plays a pivotal role in Indonesia’s creative economy, which is a significant contributor to the national GDP. By supporting creative industries such as fashion, art, film, and digital technology, ICCN empowers local entrepreneurs and generates employment opportunities. This focus on creativity not only boosts economic resilience but also fosters a sense of identity and pride among communities.
One of ICCN’s core strengths lies in its ability to foster collaboration. By connecting stakeholders across cities and regions, ICCN ensures that best practices are shared, challenges are addressed collectively, and opportunities for growth are maximized. These partnerships extend to:
• Local Governments: Supporting policy formulation and urban planning.
• Private Sector: Encouraging investments and sponsorships in creative projects.
• Academia: Leveraging research and innovation from universities and think tanks.
• Grassroots Organizations: Empowering communities to take an active role in creative development.
While ICCN has achieved significant milestones, it faces challenges such as:
• Funding Gaps: Limited resources for large-scale projects.
• Inclusivity Barriers: Ensuring participation from remote and underserved areas.
• Sustainability Concerns: Balancing rapid urban growth with environmental preservation.
To address these, ICCN aims to strengthen its advocacy efforts, expand its partnerships, and adopt advanced technologies for creative city management.
The Indonesia Creative Cities Network exemplifies how creativity can serve as a driving force for sustainable urban development. By fostering collaboration, innovation, and inclusivity, ICCN not only enhances the quality of life for urban residents but also strengthens Indonesia’s position as a global leader in the creative economy. Moving forward, ICCN’s continued efforts will be crucial in shaping resilient and vibrant cities across the nation.
]]>The Thai Film Archive is devoted to its mission to collect and preserve films, audiovisual, and related materials from its national heritage. It facilitates research and builds knowledge on cinema and other related subjects. The Thai Film Archive has a growing collection comprising, currently, of over 50,000 newsreels, 8,000 documentary and nonfiction films, 1,500 Thai feature films, and more than 100,000 tapes. The collection also has over 30,000 film-related materials.
The Thai Film Archive screens films regularly at its cinematheque. It also houses a book library and a mediatheque, organises exhibitions, lectures, and tours at its museum (the Thai Film Museum and Maya City) as part of its public service toward education and research.
The Thai Film Archive began as a small unit within the Department of Fine Arts under the Ministry of Culture. Its initial mission was to collect and preserve film materials that were at risk of deterioration or loss. At the time, the focus was limited to saving physical reels of old Thai films and documenting their significance. Becoming an Independent Institution (1998), In recognition of the importance of film preservation, the Thai Film Archive was established as an independent organization. It gained autonomy, enabling it to expand its efforts in preservation, restoration, and promotion of Thai cinema.
The Thai Film Archive is based in Salaya, Nakhon Pathom, near Bangkok. It is easily accessible and welcomes visitors interested in exploring Thai cinema's rich history. The Thai Film Archive has a rich history rooted in the recognition of cinema as a vital part of Thailand's cultural heritage. Its journey reflects the evolution of Thailand's approach to preserving and celebrating its film legacy.
Preservation and Restoration: (1) The archive collects and restores films, ensuring that classic and significant Thai movies are not lost to time. (2) It also preserves associated materials, such as scripts, posters, photographs, and equipment, to provide a holistic view of Thai cinema's history.
Promotion of Film Culture: (1) Organizes screenings, exhibitions, and educational programs to cultivate an appreciation for cinema among the public. (2) Offers workshops and events to teach filmmaking techniques and the importance of film preservation.
Research and Documentation: (1) Acts as a resource hub for researchers, filmmakers, and enthusiasts seeking information on Thai cinema. (2) Provides access to its archives for academic and artistic purposes.
Global Collaboration: (1) Partners with international film archives and organizations to exchange knowledge and share resources. (2) Participates in global initiatives for film preservation and restoration.
The Thai Film Archive doesn’t only preserve films; it plays a critical role in documenting Thailand's social, cultural, and political history through cinema. Films reflect the societal values, struggles, and aspirations of the time in which they were made, making them invaluable historical artifacts.
Preservation of Thai Identity: The Archive has preserved films depicting traditional Thai customs, lifestyles, and folklore, ensuring that future generations can witness and understand their cultural roots.
Educational Outreach: By organizing screenings, exhibitions, and workshops, the Archive educates the public about Thailand’s cinematic journey and its broader cultural implications.
Support for Modern Cinema: It bridges the gap between traditional Thai cinema and contemporary filmmaking, supporting young filmmakers and promoting innovation while honoring the past.
Today, the Thai Film Archive is internationally recognized as a leader in film preservation and an advocate for the power of cinema as a cultural force. It continues to:
Restore and digitize rare and significant films.
Host annual film festivals and retrospectives celebrating both classic and modern Thai films.
Partner with global institutions like the International Federation of Film Archives (FIAF) to advance preservation techniques.
The Unwritten Record ; The Unwritten Record is the National Archives and Records Administration’s blog dedicated to special media holdings. The blog features information on fascinating finds, new accessions, preservation projects, and rediscoveries across the agency’s non-textual holdings.
The blog is managed by the Special Media Records Division, which accessions, preserves, and provides access to millions of non-textual records, including analog and digital photographs, posters, motion picture film, video, audio recordings, maps, charts, architectural and engineering drawings, patents, and ship plans.
Father of Thai Animation, Payut Ngaokrachang @ Google Art & Culture
AHPADA's activities include the organization of seminars and workshops to educate on Southeast Asian craft traditions and practice and to deliberate on heritage preservation, craft innovation and product development and promotion. It also organizes and participates in craft-related exhibitions and trade fairs. To be a leading authority in conserving Southeast Asian craft traditions and skills and in developing and promoting Southeast Asian handicrafts and artisans. To support ASEAN’s Strategic Plan on Culture and Arts 2016-2025 by facilitating intercultural contact and collaboration, engendering a sense of ownership for the cultural heritage of ASEAN, and leveraging on culture for inclusive and sustainable development.
To ensure craft heritage, skills and material knowledge are documented and communicated, and that their continued practice is assured by cultivating the relevance of these skills.
To establish a network of craft artisans, experts, government and non-governmental organizations, to enable knowledge and experience sharing and collective support to develop appropriate artisanal skills and products.
To promote and raise the awareness of these craft products through participation in seminars, exhibitions and trade fairs. To stimulate the creation of employment opportunities for artisan communities, many in rural areas, and to strengthen the status of craft artisans, within and beyond their communities.
To foster ASEAN unity within and outside the region through the promotion of its crafts with their long-lasting cultural threads that bind the region.
Southeast Asian crafts have a rich history. From crafts produced for royal courts to folk art, from utilitarian to ritual items, they cover a diverse range of materials and production techniques in textiles, basketry, wood carving, stone carving, metalwork, lacquerware, weaponry and so on. They can be expressions of indigenous traditions or adaptations of external influences on this part of the world placed for centuries along the maritime silk and spice road.
The below are accolades that have been received by the region:
Sakon Nakhon, Thailand - Natural Indigo Dyeing
Special Region of Yogyakarta, Indonesia - Batik
Khon Kaen, Thailand - Mudmee Ikat
Gianyar, Indonesia - Crafts
Kuching, Malaysia - Crafts
Pekalongan, Indonesia
Baguio City, Philippines
Sukhothai, Thailand
Chiangmai, Thailand
Multiple Seals/ Awards of Excellence, awarded by UNESCO-AHPADA/ WCC–AHPADA, to craft products demonstrating quality, innovation and marketability in the following material categories - textiles, natural fibers, ceramics, wood, metal, stone and others (including natural materials not mentioned above as well as composite and recycled materials).
The following craft items together with their wider cultural significance are also recognized by UNESCO as the intangible cultural heritage of mankind: Keris (Indonesia), Wayang (Indonesia), Batik (Indonesia), Angklung (Indonesia), Noken Bag (Indonesia), Khon Masks Dance Drama (Thailand).
The crafts industry is a significant contributor to national economies in Southeast Asia – in Indonesia, the sector contributed USD 892 million of export sales in 2019. Made primarily by skilled hands using appropriate technologies, be they hand or mechanical, crafts products reflect the cultural psyche of a people. Craft production is usually the backbone of rural economies and support a large number of people working in the non-formal sector. As such, sustaining the livelihoods of craft artisans safeguards cultural traditions and identity as well as the viability of rural communities through the ability to generate economic gain from their skills, providing an important means of equitable sustainable development.
(1) The main objective of the World Crafts Council AISBL is to strengthen the status of crafts in cultural and economic life. The Council aims to promote fellowship among craftspersons by offering them encouragement, help, and advice. It fosters and assists cultural exchange through conferences, international visits, research study, lectures, workshops, exhibitions, and other activities. The WCC also seeks to foster wider knowledge and recognition of the craftspeople's work with due regard to the diversified cultural and national backgrounds and tradition of its members. In carrying out these principles, the Council shall consult with governments, national and international institutions, societies, and individuals.
(2) UNESCO's City of Crafts and Folk Arts project is part of the wider Creative Cities Network, founded in 2004, which designates cities worldwide that have made unique contributions to the field of crafts and folk arts.
]]>Art Jakarta holds on to its main vision to be the Southeast Asian-focused art fair in Asia, and one of the most exciting art fairs in the region. It is hosted in the region’s dynamic centre of contemporary art and is always a stimulating international forum for key stakeholders in Asia to serve the region’s contemporary art ecosystem.
Art Jakarta started as a fair by MRA Group to promote their magazine, which is called Harper’s Bazaar. That’s why it was called Bazaar Art Jakarta, it was one of the magazine’s activation events. So, it started off as Bazaar Art Jakarta and for the first 10 years it had been held at the Ritz Carlton Hotel Ballroom in Jakarta. In 2018, after a decade of journey, they decided to find a new team and a new business partner, which was myself, and then we set up a new team to rebrand and reposition the fair. What we did was we brought the fair to the Jakarta Convention Center (JCC), a complex of international convention halls near the city’s business district, so that it would look more proper as an international art fair.
At the same time, we improved the composition of the contents of the galleries. We had at that time 40% non-Indonesian galleries and 60% Indonesian ones. Further changes took place during the COVID years when we created Art Jakarta Virtual to showcase artists’ works in virtual spaces in 2020, and when we initiated Art Jakarta Gardens in 2022 to offer an experience of art in the open. Eventually, in 2023 we moved to JIExpo, in the northern part of Jakarta, and this year is our largest edition yet with 73 galleries. In this very tough time, economically, I think the fair did fairly well in terms of sales.
Art Jakarta is always focused on promoting contemporary art to the public, which in Indonesia remains relatively unfamiliar to many parts of society. We also believe in pushing corporate collecting, and we have projects with other art stakeholders, not only in Jakarta but also in other Indonesian cities such as Bandung, Yogyakarta, and Malang. It’s all to promote contemporary art.
Art Jakarta is holding its 14th edition this year, and we are proud to collaborate with more partners to showcase a greater number of intriguing art installations and more contextualised artworks that will entice audiences and offer them a unique experience. We are also pleased to welcome 73 galleries, many of which are returning from last year, along with five additional galleries. We believe that this expanded partnership highlights the Fair’s growth and the trust we have earned from stakeholders in the art scene. (Tom Tandio, Fair Director)
창의적 자원 가이드(Creative Resource Guide)는 라오스와 캄보디아에서 공예품과 디자인이 어떻게 사회 변화의 효과적인 매개체가 될 수 있는지 보여준다. 인접한 동남아시아 두 국가는 독특한 문화적 배경을 갖고 있다. 종교적 신념, 민족 다양성, 지역 문화, 식민지의 영향으로 특징지어지는 복잡하고 다양한 역사에 뿌리를 둔 독특한 문화 유산을 보유하고 있다. 라오스와 캄보디아에서 수공예품은 대부분 농촌 지역에 거주하는 여성들이 주를 이루는 개인, 협동조합, 소규모 조직에 의해서 생산된다. 최근 수공예 제품에 대한 디자이너와 학생들의 관심이 높아지면서 디자인과 전통적 공예제작과 다양한 협업도 이루어지고 있다. 디자인은 각기 수도 캄보디아의 수도 프놈펜과 라오스의 수도 비엔티안의 소수의 학교에서만 가르치는 새로운 분야입니다. 공예와 디자인은 때때로 대량 제작을 위한 표준화에서 벗어나 실용적이고 미적 가치가 있는 물건을 생산한다는 점에서 유사성을 갖고 있다. 이 자료에서 제시된 프로젝트는 창의성과 문화 유산이 만나는 ‘현대적 공예’에 대한 정의를 내리기 위한 광범위한 사례를 살핀다.
본 자료에서는 초국적 기관부터 비영리 및 사회적 기업에 이르기까지 라오스와 캄보디아의 공예 분야와 관련된 조직의 다양한 모델을 소개하며 경제, 사회, 문화적 역학 관계를 밝히고자 한다. 다양한 규모와 역량으로 협력하는 이 분야의 회사들은 종종 제작자의 기술 및 마케팅을 지원하기 위해 전문가 자문 및 직업 훈련 프로그램을 운영한다. 이들은 공정 거래 가이드라인을 준수하며 소외된 지역 사회와 협력하고 종종 의료 혜택을 제공하기도 한다. 새로운 시장을 개적하는 일은 지속 가능한 수익을 보장하는 데 매우 중요하며, 이는 지역의 제작자와 그 가족에게 지속가능한 삶의 중요한 부분이 되기도 한다. 지역의 제작자는 전문 개발 및 교육 프로그램의 수혜자로 수동적 역할로 보이지만, 사실 이들의 적극적인 참여와 자기 계발은 성공에 핵심적인 부분이다.
해당 분야에 활동하는 캄보디아와 라오스 인구의 대부분이 여전히 시골에 거주하고 있으며, 이들은 참여와 노력을 통해 빈곤을 완화하고 농촌 이탈 현상에 맞서 싸우기 위한 소득을 위한 시장을 창출할 수 있다. 본 자료는 캄보디아와 라오스 단체의 사례를 통해 현존하는 다양한 수공예 분야의 장인 기술에 대한 개요를 제시한다. 유네스코는 수공예품을 '양의 제한 없이 지속 가능한 자원의 원료를 사용하여 만든 것'이라고 설명한다. 이 책에서는 지역 자원을 창의적으로 활용하는 프로젝트와 사회적 영향을 미치는 유산 보존 및 공정 거래 관행에 초점을 맞춘 몇 가지 이니셔티브를 소개한다.
전통 예술 및 민족학 센터(TAEC)는 라오스 루앙 프라방에 기반을 하고 있다. 이들은 지속 가능한 관광을 전문으로 하는 인류학자, 라오스 지역 전문가들과 함께 일하고 있다. 이 센터는 애초에 라오스의 민족적 다양성에 집중하는 프로젝트 쇼케이스로 출발하여 현재 전시 갤러리와 함께 센터를 운영하면서 민족학 연구와 교육을 진행하고 있다.
팽마이 갤러리는 전통 직조 방식과 관련된 모든 것들을 보존하기 위해 노력하고 있다. 라오스 문화와 지역 특화된 염색 기술과 소수 민족에 대한 부분도 함께 포함하고 있다. 이들은 외국인들에게 다양한 프로그램을 제공하기도 하며, 해외 기구와 조직에 전문적인 자문을 제공하기도 한다. 비엔티안의 팽마이 갤러리를 방문하는 고객은 수작업으로 만든 다양한 기념품을 구매할 수 있고, 이는 실크와 면화 제품을 선보이는 데 자부심을 갖고 있다. 이 물품들은 현대 라오스의 미학을 재해석하여 정교한 천연 염료로 착색하여 제작한다. 이 작품은 수출을 위해 전통을 재해석하기도 하고 단순한 기념품 뿐만 아니라 스카프, 쿠션, 옷 등 다양한 섬유 기술을 통해 물건을 제작한다. 이들의 가장 중요한 목적은 문화를 보존하고 지역 공동체의 회복력와 지속가능한 삶을 위해 노력하는 동시에 경제적 가치 창출을 위해 노력하는 것이다.
보디아는 캄포디아의 저렴하지만 좋은 서비스를 제공하는 최초의 스파 체인점이었다. 프놈펜에서 씨엠립까지 캄보디아 전역에 지점을 운영하고 있으며, 이 회사는 1990년대 후반 부터 캄보디아에 살고 있는 프랑스인 실비앵 페리에가 설립했다. 초기 스파에서 마사지 치료사가 사용하는 제품은 태국에 본사를 둔 유기농 농장에서 조달했지만, 스파의 성공으로 캄보디아에서 직접 원료를 조달해 자체 천연 화장품 브랜드를 출시했다. 이들은 현재 국제 표준에 맞는 천연 재료를 활용한 다양한 제품을 연구하고 생산하기 위한 연구소를 운영하고 있다.
The UNESCO Thematic Indicators for Culture (Culture|2030 Indicators) is a framework of thematic indicators whose purpose is to measure and monitor the progress of culture’s enabling contribution to the national and local implementation of the Goals and Targets of the 2030 Agenda for Sustainable Development. The framework will assess both the role of culture as a sector of activity, as well as the transversal contribution of culture across different SDGs and policy areas. As a set of thematic indicators, it is intended to support and complement the global indicators agreed upon within the 2030 Agenda and foster linkages between different Goals and Targets.
The Culture|2030 Indicators framework aims to:
Building on an in-depth analysis of the multiple ways in which culture contributes to the economic, social and environmental dimensions of development, the Culture|2030 Indicators provide evidence of culture’s transformative role, making it more visible and tangible. In a context where culture-related data is fragmented and produced by different institutions and agencies, the framework brings the data together and highlights linkages and areas of intersection between culture and other policy areas, thus fostering a better understanding of the breadth of culture’s actions and their direct and indirect con-tribution to sustainable development. Given that the role, impact, and contribution of culture are often not readily quantifiable, the indicators framework seeks to quantify behaviour and actions generated by culture and, alternatively, to document ways in which cultural values are enshrined in policies, pro-grammes, and actions.
Rather than monitoring the contribution of culture to each relevant SDG Target and globally accepted indicator, the Culture|2030 Indicators consider the contribution of culture across several of the Goals and Targets, with a view to linking them together. The framework allows aggregation of data across different Goals and Targets around transversal themes in line with UNESCO’s programmes, activities, and policies. These thematic dimensions are underpinned by the ‘5 Ps’ conceptual framework of the SDGs
By strengthening the transversal visibility of culture in the 2030 Agenda, the Culture|2030 Indicators will help build a coherent and strong narrative on culture and development, that is evidence-based and supported by key messages. This narrative will directly support advocacy efforts at the global, national or local levels, with a view to convincing decision-makers and partners to include culture across their national and urban policies and programmes and to better direct public and private funding towards the culture sector.
The Culture|2030 Indicators provide a conceptual framework and methodological instruments for countries and cities to assess the contribution of culture to the SDGs as part of the existing implemen-tation mechanisms of the 2030 Agenda at the national or local level. Evidence gathered will inform policies and decisions as well as operational actions, both within the cultural sector, and across other sectors transversally. Through repeated application of these measurement tools, the initiative will allow countries and cities to monitor their own progress regarding the outcomes of their policies and the effectiveness or robustness of the policies themselves.
Once the framework is implemented by a city or a country, each dataset becomes a valuable source of information that can be analysed to create profiles at the local and national levels, as well as to identify major trends on the contribution of culture to sustainable development in different cities, regions or countries. Analytical material and good practices will help to build a better understanding, with a view to developing a knowledge base with a digital data bank on Culture in the 2030 Agenda.
Information collected as part of the implementation of the Culture|2030 Indicators in voluntary pilot cities and countries provides a valuable baseline from which to measure progress in addition to directing actions at the local and national levels. The data also contributes to the formation of a global overview of the state of progress of the contribution of culture to the 2030 Agenda and provides evidence-based and analytical material to support the participation of UNESCO in UN-wide reporting mechanisms related to the 2030 Agenda as well to the Resolutions of the General Assembly pertaining to Culture and Development.
The Culture|2030 Indicators are supported by a conceptual framework of four transversal thematic dimensions: (i) Environment & Resilience, (ii) Prosperity & Livelihoods, (iii) Knowledge & Skills and (iv) Inclusion & Participation. Each dimension combines several SDG Goals and Targets to capture the multifaceted and transversal contribution of culture to sustainable development, thus echoing the purpose of the thematic indicators within the 2030 Agenda. The framework gives priority to the areas that are relevant to UNESCO’s mandate in Culture and where relevant quantitative or qualitative data are already being collected or are likely to be identified.