竹圍工作室與柬埔寨Cambodian Living Arts（ CLA）跨國合作「台柬文化領導人交流計劃」，邀請柬埔寨四 位資深藝術行政工作者HUOT Dara、ONN Sokny、SO Phina與SONG Seng來台，交流期間透過CLA的 Frances Rudgard居中協調。在台的兩個禮拜期間，以討論「文化領導人」為主軸，帶著四位拜訪臺灣不同文化 藝 術 領 域 專 業 者：表 演 藝 術 團 隊 、文 化 藝 術 推 廣 團 隊 與 資 深 工 作 者 、文 學 與 社 群 推 廣 團 隊 等 ，期 待 在 跨 文 化 交 流 中 ，分 享 彼 此 所 知 ，就 各 自 所 碰 到 的 問 題 和 可 行 的 解 決 方 式 、營 運 模 式 等 互 相 討 論 。第 一 次 台 柬 文 化 交 流 ， 提供很好的機會建立台灣與柬埔寨的關係，建立雙方藝術交流的平台。同時，這也是很好的機會以較高的視野 來思考什麼是台灣的文化領導力？誰是文化領導人？
In 2016, Bamboo Curtain Studio (BCS) and Cambodian Living Arts (CLA) co-hosted “Cultural Leadership Exchange Program” between Taiwan and Cambodia. BCS invited four senior art managers from Cambodia: HUOT Dara, ONN Sokny, SO Phina, and SONG Seng to Taiwan for two weeks residency. Frances Rudgard from CLA worked with the BCS team to coordinate the program. In these two weeks, the four shared deep discussion with many culture and art organizations in Taiwan. Also, they learned about cultural policies in Taiwan, diﬀerent business models of the organizations, vision and mission of each team and so on. In the conversations, both Taiwan and Cambodia teams shared knowledge and experience, including diﬃculties that they encounter and what possible solutions each one could provide. This ﬁrst exchange was a great opportunity to build up the relationship between Taiwan and Cambodia in the art and culture ﬁeld. At the same time, it was also an opportunity to reﬂect at a high level about what is cultural leadership in our countries? Who is a cultural leader?
交流與未來展望 The opportunities come up from the exchange : 在本次拜訪臺灣藝文團隊相談中，期待未來交流的可能。認識在地文化，是構思未來的重要基底。 Since the four Cambodia cultural leaders visited and had meetings with professional partners in Taiwan, they have more picture about Taiwan art scene and are looking forward to the exchanging or collaboration in the future. + 在地社群與教育機構的文化推廣 Share and Exchanging by Local Communities, Educational Institutes + 藝文工作者的工作方式, 空間與藝術創作 Art and Cultural Partnersʼ Work, Space, and Ways of Production + 國際交流與藝文活動 International Exchange and Cultural Events + 文本創作與多元價值推廣 The Creation of Content, and Spread of Multi-Value
參訪藝文團隊與夥伴圖 Network mapping between Taiwan and Cambodia art group
文化領導力關鍵字 Keywords： 溝通 Communication
現況分析 Condition analysis
＋上述關鍵字為參加工作坊的參與者提供 T he a bove k ey wor ds wer e contr ibuted fr om pa r ticipa nts of the wor k shop.
Th is w o rks h o p is s po ns o re d b y a grant “Th e E me ral d I nitiative “pro gram o ﬀe re d b y th e M inis try o f Cu l tu re o f th e Re pu b l ic o f Ch ina. 計畫核心團隊 Co o rdinato r te am:
+竹圍工作室B CS： 蕭麗虹 M argare t Sh iu 、洪秉綺 I ris Hu ng、洪芷寧 Sh e rry Ho ng +Camb o dian L iving Arts : Ph l o e u n Prim, Franc e s Ru dgard, L o r Ve as na
成員介紹 About Participants :
+ 改變與實踐之路 The Path and eﬀort of Change
+ Huot Dara
在交流中，臺灣與柬埔寨夥伴們各自分享實作經驗， 「 這次拜訪中，臺灣的創作者與藝文領導者們分享許多關於實
Huot Dara現為Phare Performing Social Enterprise（ PPSE）的執行長。PPSE為柬埔寨青年以及柬埔寨的藝術振 興提供專業教學與訓練。PPSE為柬埔寨馬戲團，駐點在暹粒市（Siem Reap）並於柬埔寨境內與世界各地演出。Dara 身為過去Phare的學生之一, 當時加入的第一個表演藝術團體,跟著演出巡迴在柬埔寨的偏鄉作教育推廣，主題涉及 地雷、瘧疾或其他公共衛生與安全議題等。2012年，他受Phare邀請成為PPSE的執行長，協助他們建構永續的社會 企業商業模式。 Dara leads and manages Phare Performing Social Enterprise (PPSE) in its mission of supporting Phare Ponleu Selpak school, providing professional opportunities for Cambodian youth and revitalizing arts in Cambodia. PPSE operates Phare, The Cambodian Circus, based in Siem Reap, and Phare Productions International, which produces performances in Cambodia and around the world. A former student of Phare, Dara joined the ﬁrst group of performing artists on awareness performance tours to educate rural Cambodian populations on landmines, malaria, and other public health and safety issues. In 2012, he was invited by Phare to become CEO of PPSE and help them build a sustainable social enterprise business model.
受啟發；工作坊結束後，她加入了工作坊的主辦單位 Epic Arts，從行政人員開始，迅速地晉升為專案、接著是製作， 與團隊在全世界到處巡迴，現在已成為Epic Arts的高階經理人。她對柬埔寨藝術的未來發展抱有宏大的視野，並且 把文化視為國家發展不可或缺的工具。對於支持藝術發展的系統和架構有興趣，尤其是政府與公民社會在過程中所 各自扮演的角色。 Soknyʼs career in the arts began the moment she participated in a community arts workshop in her hometown and was immediately inspired by the transformative power of art to build conﬁdence, expression and social cohesion. After the workshop, Sokny joined the organization that had run that workshop, beginning as an administrator and rapidly progressing to programming, then a production role, touring work nationally and internationally. Today, Sokny is the Senior Manager of that organization, Epic Arts. Sokny has a strong vision for the future of Cambodian arts, and sees culture as an essential tool for the
竹圍工作室在台灣致力於提倡跨域文化交流，提供給國內與國際的藝術工作者會面的場域，以及短暫的拜訪或是具 體的計畫。為了促進文化交流，我們試著排除困難，提供了藝術工作者所需要的時間，空間和設施進行在地創作，協 助他們做研究與嘗試。竹圍工作室也可以客製化駐村計畫，例如參訪展覽，表演和參與社區交流與互動。 The Bamboo Curtain Studio (BCS) in Taiwan aims to promote cross-cultural exchanges by providing a meeting point for visitors from national and international art related ﬁelds, for short visits or speciﬁc projects.
It endeavors to promote cross-cultural exchanges by lifting barriers, and provides a creative
environment for needed time, space and facilities for production, residencies on site, serving artists in their research, testing and trial run of their products and service projects. It also has the capacity to custom design the residency program-based on individual needs, such as visiting important exhibitions, performances, and to join in art community and cultural events. + Cambodian Living Arts Cambodian Living Arts 由Arn Chorn Pond成立於1998年。成立組織後的第一件事便是復興與保存柬埔寨傳統音 樂、舞蹈和戲劇。經歷了紅色高棉事件後，約九成的藝術家都受牽連並死於此事件。整體的高棉文化岌岌可危。在前 十年，CLA與尚存的大師藝術家合作，協助他們在在寶塔、學校和家裡將技術傳承給新的世代。當柬埔寨發展後， CLA也開始發展新的方向，提供更多的支援在藝術領域的成長。現在，CLA與藝術家、藝術行政及其他的組織合作， 提供資源與發展技術和相關訓練的機會，並刺激創意的思考。CLA相信藝術是永續社會的核心。 Cambodian Living Arts was started in 1998, by Arn Chorn Pond. The ﬁrst work of the organisation was to revive and preserve traditional music, dance and theatre of Cambodia. After the Khmer Rouge regime, 90% of the artists had died and the culture was at risk. For the ﬁrst ten years, CLA worked to support master artists to teach their skills to the young generation, in pagodas, schools and homes all over the country. As Cambodia developed, CLA also developed its programs to oﬀer more support to the growth of the arts sector. Today CLA works with artists, arts managers and other organisations to develop skills, oﬀer training opportunities, provide resources and stimulate creative expression. CLA believes that the arts are at the heart of a vital and sustainable society.
development of the country. She is interested in the systems and structures that support the development
So Phina於澳洲墨爾本皇家理工大學獲得社會工作學碩士，在澳洲與柬埔寨皆有豐富的社會工作及社會發展與社 工經驗，關心柬埔寨女性文學的歷史與哲學內涵。同時為柬埔寨女性作家協會分支的主持人。近來與五位女性作家 共同自費出版一本高棉的短篇故事選集《Crush Collection》。她透過私人部落格，dare2write.com，鼓勵女性書寫。 Phina leads Women Writers Cambodia, a charter of PEN Cambodia. She recently self-published an anthology of short stories in Khmer, called Crush Collection, with ﬁve other female writers. She also encourages women to write, via her personal blog, dare2write.com. She received her Masterʼs Degree in Social Work from the RMIT University in Melbourne, Australia, and has a strong background in social work and social development in both Australia and Cambodia. She is especially interested in the historical and
Seng為Cambodian Living Arts&#39暹粒市計畫的主持人，擁有12年擔任製作人、經理、主持人以及藝術行政的經 驗，領導小鎮裡社區的活化與藝術交往發展。Seng在Cambodian Living Arts開始他的職涯，嘗試復興瀕臨消失邊 緣的表演藝術形式，以及傳承老一輩藝術大師的遺產。他為柬埔寨創造了許多新興節慶，並帶領藝術家參與國際展 演。他期待著看到每一位柬埔寨人都學習藝術，並夢想著有一天柬埔寨人能帶著具國際水準的藝術、最好的創作進 入到國際藝術社群，期待每一位柬埔寨人都學習藝術，期待柬埔寨人帶著具國際水準的藝術以及最好的創作到國際 藝術社群。 Seng is Head of Cambodian Living Arts&#39; programs in Siem Reap, using his 12 years of experience as a producer, manager, facilitator and arts administrator to lead the development of an active and engaged arts community in the town. He began his career with Cambodian Living Arts&#39; work to revive the transmission of endangered performing art forms and to continue the legacy of the old Master Artists. He has produced festivals in Cambodia and taken artists on tour internationally. He also provides training and mentoring to emerging artists and managers through CLAʼs Learning & Leadership Program. Seng has a dream to see every Cambodian learning the arts and to see Cambodia bringing international quality arts and best practices to the global arts community.
model in the organization and how to sustain both yourself as an individual as well as the organization. Once the leader has left, how can the impact of their work continue? It is really a very important homework which might take a life- time practice. Having a clear vision is an essential leadership ability. Good networking is another key skill. How to bridge diﬀerent individual, groups, public sectors and private sectors together? Each one could ﬁnd a balance through sharing. Of course, don't forget to guide and support future leaders. Once we gather all these energy together, it would improve overall cultural environment. Around 40 participants came to the workshop. Many of them are art administrators, but some of them were artists, directors, curators, public servants, students and so on. “Cultural Leadership” is quite a new topic in Taiwan, whereas it is something that has been being worked on and discussed in Cambodia for a longer period. This is another good example of collaboration between Taiwan and Cambodia. One of the key conclusions of the workshop was that these 21st century leaders, are looking to have a wider impact through their work; they don't just work for arts and culture, but they believe in the power of arts and culture to make positive change.
experiences, methods of peaceful protest and knowledge of organic food and environmental action.” Phina described the artists and managers as “Unoﬃcial Goodwill Ambassadors”. Through spending time with Taiwanese professionals in person, with time to understand their work from the structural level to their individual experience, Fellows took away a lasting impression that making change or revolution in the art and culture ﬁeld takes a long time and sustained eﬀort. Although there are some cultural similarities, there are also diﬀerences in identity and history of the two countries. Practices also reﬂect and connect to local lifestyle and culture, for example when thinking about “what is the role of art and culture in Taiwaneseʼ daily life?”, the Fellows observed that compared to Cambodia, the Taiwanese more frequently go to exhibitions and performances for leisure and will pay for culture. Taiwanese artists and cultural workers shared that this custom developed and took many years, and much eﬀort from many artists and administrators, to create a better environment. As well as building audiences, there have been other criticism, art education, and how to be interactive with audiences. One important issue that was discussed salaries, but also having enough work available in the arts, that artists do not have to seek jobs outside of the arts sector in order to survive. A shared aim of the Fellows and the artists and cultural workers they met was to have a positive impact by supporting young people in the arts to make a better future. Fellows met with people from many perspectives, from grassroots artists to government legislators, and discussed issues of art, culture, education, and cultural policy. It is clear that these areas are tightly related, and one of the skills and responsibilities of a cultural leader is to be able to bridge diﬀerent disciplines, and diﬀerent perspectives. For instance, they discussed the role of the arts manager in having dialogue between public and private sectors, and between policymakers and small groups of audience and communities, so
對於大部份柬埔寨夥伴們來說，這也是他們第一次造訪臺灣， 「 無塑膠」的生活、和臺北捷運的秩序、以及無障礙設 施讓他們印象深刻。如同他們對於竹圍一帶、和竹圍工作室環境的喜愛，他們更在這次參訪中，認識同行的彼此， 有美好的互學時光： 「我們認識了彼此的專業與個人！」他們也提到： 「我們何不在柬埔寨也開始一個小的駐村計劃 呢？」從日常生活到滿檔的參訪與討論行程，他們藉著每一位專業藝文工作者、團隊的親身分享，認識臺灣的藝術 與文化領域，聽大家的實作與深切觀點。即便柬國與臺灣在語言、歷史、資金籌募與藝文工作領域充滿差異，兩方 都看到未來合作的可能，尤其在關於「如何讓年輕世代在藝文領域有更多藝文管理的能力與機會」這塊，開始繪製 近期的合作計劃。 For most of the Fellows, it was their ﬁrst time visiting Taiwan. The idea of “no plastic”, the way citizens behave while in the Taipei Metro, and “great accessible system for people with disabilities.” impressed them. The Fellows loved the natural environment in the Zhuwei area, and BCS surroundings; they also found great beneﬁts in learning from each other, ”we understand each other more deeply on both personal and professional levels”. They wonder, “how about having a micro-residency in Cambodia?” From both experiencing daily life and participating in an intensive schedule of meetings and discussions,
Taiwan, the language, history, the funding and working environment of the arts, both two sides see many opportunities for partnership and are making plans for collaboration starting in the very near future. Especially around helping to build more capacity and opportunity for the young generation to graduate into leadership roles in the cultural ﬁeld.
柬埔寨藝文夥伴在臺參訪 Fellowsʼ Experience in Taiwan :
+ 個人永續職涯思考 Personal sustainability
Some of the main ideas they shared included that as a leader, it is important to think how to become a role
leaders shared their resources, skills, choreography skill, management skills, festival management
individual shared practice and viewpoints. Even though there are many diﬀerences between Cambodia and
+ 擁有且維持自我願景 Having and holding vision
Fellows got to know the Taipei art and cultural sector by hearing about each person, professional team and
+ 臺北．竹圍的日常生活 Daily Life in Zhuwei, Taipei
theme related to cultural leadership:
+ Song Seng
and small group discussions. Each Fellow from Cambodia spoke about their experience and advice on a core
that they can bridge diverse people to create or enjoy art and culture.
is Cultural Leadership? What is Cultural Leader? The workshop was a mixture of presentations, networking
philosophical elements of Cambodian womenʼs literature.
At the end of the two-week program, the Fellows and BCS hosted a workshop in Zhuwei on the topic: What
was creating and sustaining a viable living situation for both artists and arts administrators; this includes
+ So Phina
important issues and practices that have developed over a period of many years. These include art
+ 加深工作內涵 Putting your work in a wider context
of the arts sector, particularly in the respective roles of government and civil society in that process.
文化領導人工作坊 Cultural Leadership Workshop
+ 人脈網絡與連結 Networking and connectivity
reﬂected on the variety of experiences and ideas that the group encountered: “Taiwanese artists and arts
+ 竹圍工作室 Bamboo Curtain Studio
The program was designed to be a two-way exchange with both sides learning from one another. Sokny
+ Onn Sokny
單位介紹 About the Organizations :
+ 藝文規模多樣化 Big possibilities from small spaces 柬埔寨夥伴們在臺參訪兩週，對於臺灣「藝文規模的多樣化」印象特別深刻。在柬埔寨，成功與專業的藝文設施、場 館或「節慶」所指的多半是大規模的。然而在臺灣，活動、節慶、劇場或博物館都可以相對地「小」，卻深具影響力。 Phina說，大小真的不重要，Dara也在認為場地不需非得完美、正式不可。事實上，藉著不同規模的藝文展演，創作者 更有機會去實驗，也讓創作者處理特定的題材，有相應的精確觀眾，不一定需要訴諸大型展演空間裡的大規模觀眾。 Song以拜訪燦爛時光書店與大大樹音樂圖像為例，臺灣不同規模的平台，有著豐沛的動能與影響力： 「他們像是創 造出一個Hub，一個給藝術和非藝術領域人們來學習與分享的空間，可作為開會或分享會之用。」，也對於現地錄製 音樂印象深刻。而文化歷史場所如思劇場，團隊夥伴們舉辦沙龍、與在地許多夥伴合辦「大稻埕國際藝術節」，更深 信節慶應來自於在地社群。 For the Fellows, when they came from Cambodia, the idea of a successful and professional facility, venue, or “festival” was that it is usually large scale. What they saw time and time again in Taiwan, was that small scale activities, festivals, theaters, or museums can still have a large impact. During one visit in Taipei, Phina said, “Size does not really matter.” As Dara mentioned, it is not necessary to be a fancy, formal space; in fact, the varied usage of these small scale spaces and activities, “let artists take risks and be more creative.” Furthermore, they allow artists to engage with a specialist audience, interested in a topic or experience that could not sustain a big audience in a big venue. Seng was impressed with both The Brilliant Time Bookstore and The Trees and Music, etc, as examples of using small spaces to make a big impact: “ Creating the spaces as a hub for artists and non-artists to come to learn, share, and experiment about arts and culture such as presentation, conference, etc.”. All Fellows were very inspired by work to record rural artists on location in their original site, instead of making them come to the studio. The Thinkers Theater, which connects to the history and culture of the area and the idea of “salons”, inspired Fellows with their philosophy that the festival comes from communities and the people.