Meet the stories of ASEAN-KOREA experts who recovered together through the arts and grew through the convergence of culture and industry.

Heritage Space’s most outstanding activity is the International Art Exchange project titled Month of Art Practice (MAP). Initiated and operated from 2015 to now, the project that engages young people with contemporary arts in Vietnam.

The Asia Traditional Orchestra was founded in 2009 in cooperation with the governments of 10 ASEAN countries and their respective advisors, under the guidance of the Asia Culture Hub City Promotion Team of the Ministry of Culture, Sports and Tourism of Korea in 2008.

Over the past five years, we have focused on connecting cultural diversity and touristic attractions to enthusiastic civic networks before expanding our nurturing ecosystem to other regions.

Can artistic and cultural practice be sustained with just a fraction of its history intact? Given how little is known of Brunei pre-13th century and the lack of agency of Bruneian historians and anthropologists have led ‘outsiders’ to write their accounts.

Established in 2011, Lao New Wave Cinema Productions (LNWC) is co-founded by a collective of young filmmakers and artists in Lao PDR. LNWC’s first aim is to change the face of the Lao movie community and support young people who are passionate in filmmaking to make films.

Jo Ann Bitagcol’s journey as a visual artist saw a seamless shifting from muse to lens woman and later, a designer under her namesake brand, BITAGCOL. Following a stellar career as a fashion model, she found her place behind the lens.

The journey of AFA embarked on throughout the challenging period and will share the fresh perspectives and tools that we continue to adopt as we emerge from the pandemic.

Filamen is an Audio Visuals collective where it serves as a platform for all range of people who are into audio visuals to interact with each other and also help expose themselves to a public audience.

Suppose we secure appropriate technology experts based on human resources and establish an exchange system that can match them in the right place, significantly high value-added activities can be carried out effectively and efficiently.

Meet the stories of ASEAN-ROK experts who are creating new chances and growing by focusing culture and technology.

My recent project Neo Geodesia has been dedicated to fusing electro acoustic, experimental electronic processes with traditional Khmer music, applying digital processing to traditional Khmer instruments and Smot chanting, to honour traditional musical forms and explore the far edge of sonic expression.

I'm going to share with you some of the most exciting parts and our latest development on augmented reality solutions. So, the topic that I'm going to share during the forum is all about a new future, the future that we call frameless.

We apply this interactive approach to the Thai culture industry as well because we believe that the best way to preserve something is not to keep it the way it is but to improve it and find a way to accommodate it and make it live in the present day.

ASEAN is a large market with a wide range of potential for innovation and capabilities, and it’s a community in which diverse Asian sentiments exist. Hence, I think ASEAN is a very powerful coalition.

We saw a lot of gamification and digital works as we open up. Particularly, for examples such as the National Heritage Board, they have gone ahead over this period of 18 months to actually commission and also appoint more and more creators to explore creations in AR, VR and even games, as well.

sounds perhaps a little dystopic in regards to the highest social media usage, it does also point towards a growing data literacy and web literacy sort of demographic, which is really ushering in this, they call it the “Golden Demographic”, where the majority of the population is younger.

I realize what I learned from traditional art with what I’m doing now with digital art shares the same creative process, and same aesthetic root.

Meet the stories of ASEAN-ROK people who are innovating through culture for cultural exchange and cooperation between ASEAN-ROK nations in post-corona era.

There had not been any Brunei movie released in the cinema until 2013 when we released our first feature film Ada Apa Dengan Rina.

The magazine was the vision of Deputy Secretary-General for the ASEAN Socio-Cultural Community. I credit him for seeing the need to communicate as a narrative in a more accessible and relatable way. That’s what you call innovation. Since the magazine’s launch in May, we have been able to feature articles ASEAN’s work against the backdrop of the Covid-19 pandemic and its impact on lives and economies. ASEAN magazine covers and bears witness to this unprecedented crisis. That’s reshaping the way we live.

Interview with Peap Tarr

ASEAN is a large market with a wide range of potential for innovation and capabilities, and it’s a community in which diverse Asian sentiments exist. Hence, I think ASEAN is a very powerful coalition.

The nature of culture is to flow, and we cannot know the direction of the flow. In other words, I think we should be a sort of a flow. Of course, we do not know where and how the flow will lead, but at least we can do it by fiercely embracing today and making question marks.

The findings from the survey and the case studies indicate four main factors that can enable some CCI organizations to be more successful and sustainable than others.

The Cultural and Creative Industries (CCI) sector is seen as a driving force for economic growth in many countries in South-East Asia.

My genre is focused more in electronic music and contemporary music, but when the traditional artists put the creation into this, they also contribute their own creations and also their own cultural background into the compositions.

The ASEAN regions are considered as one of the most favorable travel sites for Koreans. The actual figures indicate that the ASEAN countries including Thailand, Malaysia, Bangladesh, Laos, and Myanmar are enormously favored by Koreans as tourist destinations. The fact that these countries are visited as tourist destinations means that Koreans must have had general insights on their experiences of people, cultures, linguistic characteristics, preferences, and perceptions of the regions.

I am always as interested in the story, as I am interested in how a story is told. Since around 2012, I started working on a long term project called The Critical Dictionary of Southeast Asia.