何不變回一個孩子Think Young, Think Adventurous – Why Not?

文︰黃勺嫚,影像無國界導師 | Text: Wong Cheuk-man, Teaching Artist of All About Us

英譯︰黃澄楓 | English Translation: Janice Wong

這是我第一次在「影像無國界」裡擔任導師。我們組的同學分成中四及中五兩個級別,有來自菲律賓的Marcus、Bryan和Jonathan、尼泊爾的Sami、Madhavi和Jackey、越南的Mahn、巴基斯坦的Ahmed、孟加拉的Fardin和擔任Student Mentor的香港學生Corn,而我也有半個泰國人的身份。所以我們組可能是混雜了最多不同族裔的一組。

首次擔任「影像無國界」導師的Cheuk Teaching Artist, Cheuk, in the camp

首次擔任「影像無國界」導師的Cheuk
Teaching Artist, Cheuk, in the camp

剛開始的時侯,我曾擔心大家會因種族、文化、語言、年齡不同,而無法溝通。想到電影製作要求高度的合作精神,讓我更擔心各種差異會令我們無法合作。可是,在第一個訓練營中,已看到他們懂得分工合作,讓各人發揮所長,同時互補不足。穩重冷靜的Jackey 和組織能力強的Manh 主要負責導演及攝影工作,喜歡攝影但沒有經驗的Fardin則從旁協助。心思縝密、情感豐富的Bryan負責編劇和做演員。細心的Sami、愛化妝的Madhavi和愛音樂藝術的Marcus則負責美術道具。外表嚴肅但表演滑稽的Jonathan負責做演員。充滿怪點子的Ahmed周不時就各方面提意見。我發現所謂因有文化差異便合作不來,是「大人」才有的恐懼。

 

在第一個訓練營中,我記得有一個鏡頭是用Stop Motion 拍攝字母轉動,Ahmed提議字母從一包薯片旋轉狀地爬出來。當下我的反應是太複雜、太花時間。但大家也喜歡Ahmed的建議,所以我們還是按著他的想法來拍,結果大家也很滿意。我才發現他們很純粹,喜歡拍什麼便直接去拍,而「大人」則太成熟,太懂得去考慮時間和資源的問題,往往卻限制了自己或別人去做真正喜歡的事情。

在第二個訓練營中,我們要用三十六小時製作一段短片。我們原笑說不如用一小時拍完,然後用餘下的時間去玩「狼人」。結果,大家還是同樣認真拍攝。當然,去到第二個訓練營,大家開始出現疲態,加上製作時間短促,偶爾也曝露了真性情。但到了後期製作,大家仍然齊心協力完成。Jackey 深夜在找聲效、討論片名,Manh剪接到早上六時,Marcus 到了早上七時還在錄音樂,直至最後一分鐘Bryan和我還在瘋狂上字幕。放映當日,放我們組的作品時,因器材問題,放出來是黑矇矇一片,什麼也看不到。當時,他們有點激動,甚至質問我為什麼不要求終止放映。然而,我看見他們因放映的聲畫效果不好而激動的表情,一直暗喜,忘了處理器材的問題。對了,在乎自己的作品就會如此激動。幸好,最後也解決了放映的問題,而短片重放一次才能安撫這群小伙子。

與學生一同拍攝中的Cheuk Cheuk is shooting with her studetns

與學生一同拍攝中的Cheuk
Cheuk is shooting with her studetns

在兩個訓練營中、籌備十分鐘短片的時侯,我記得他們齊聲說不拍「Romance」類型的題材。最後,他們卻拍了一個愛情故事,而且有同性戀元素。他們一開始並沒打算做同性戀題材,因為組內只有兩個男生想做演員,結果便誤打誤撞寫了一個「同性戀」故事。我故作保守,試探他們會否擔心同性戀題材太敏感,他們卻自信地說這是關於愛的故事,而不是關於性別。再次說明「大人」總是愛標籤、為事情定性。在製作階段,我們連續幾天留校拍攝至十時,翌日早上七時在大學開始拍攝,中午又在巴士上拍攝,下午至傍晚在屋景拍攝…..他們當然是疲倦的,但卻從沒放棄,不同崗位互相接力。最後,Marcus、Bryan還找了同學Claire,一起為短片寫主題曲,配了數段音樂。我永遠都記得,他們初次聽到自己的聲音和樂器錄下來時的樣子,看到作品剪接完成的樣子。他們從沒想到自己竟被自己的故事感動,有人想哭,有人哭了,才發現作品最後夠不夠好,其實一點也不重要,能夠感動自己已經很不容易了。

我想能夠認識他們是一件幸運的事。從沒想像過自己會跟一群少數族裔的學生一起吃譚仔,去海洋公園玩過山車,在菲律賓人家中的露台彈結他。對,他們不只是一群「少數族裔」的學生,他們也有各自的夢想和愛恨。回想起來,我跟他們一樣,在十六、十七歲的時侯開始學習影像創作。與其說我是一個導師,我更認為他們是我的朋友,讓我回到十六、十七歲時的心境,提醒我們拍電影,做任何事情也好,保持率真,才最重要。

 

This is my first time being a Teaching Artist of All About Us. My group of form 4 and 5 students came from many ethnicities: Marcus, Bryan and Jonathan from the Philippines, Sami, Madhavi and Jackey from Nepal, Mahn from Vietnam, Ahmed from Pakistan, Fardin from Bangladesh,  Student Mentor Corn from Hong Kong  , and me who is half Thai. We are probably the most diverse group.

At first, I was worried. I was afraid the different ethnicities, cultures, languages and ages would become barriers in communication, threatening the high team spirit that filmmaking requires. However, during our first training camp, everyone collaborated well. They let their talents shine and made up where others fell short. Jackey the Calm and Manh the Organised took helm of directing and shooting, while the Interested yet Inexperienced Fardin helped from the side. Bryan was careful and sensitive, so he was in charge of the script and acting. Thoughtful Sami, beauty guru Madhavi and music art lover Marcus handled the props. Serious-looking yet humorous Jonathan was also an actor. Ahmed and his whimsical mind helped by sharing thoughts throughout the production. To them, cultural diversity isn’t a roadblock – it is a fear only we adults are vulnerable to.

In the first camp, we used stop motion to create spinning alphabets. Ahmed suggested making the letters crawl out of a bag of chips, which I thought was too complicated and time-consuming. However, everyone loved his idea. So we made it happen, and it was incredibly satisfying. Their goals are pure: they film what they want to film. Contrarily, adults are often stuck on issues like time and resources, holding us back from pursuing what we truly like.

Cheuk不斷從中分享及指導拍攝短片的想法與感受 Cheuk is keen on sharing and guiding students on the film production in the camp

Cheuk不斷從中分享及指導拍攝短片的想法與感受 Cheuk is keen on sharing and guiding students on the film production in the camp

In our second camp, we had only 36 hours to create a short film. We joked about allocating one hour to the film, then the rest playing Werewolf. But when it came down to business, everyone was serious. The group was obviously worn out by the second camp, and the tight schedule put everyone under stress. Still, they were determined to finish it all together, even post production. Jackey stayed up looking for audio effects and coming up with a title. Manh edited till 6 in the morning while Marcus recorded the soundtrack till 7. Me and Bryan worked tirelessly on subtitles until the last minute. On the day of showing, our group ran into some technical difficulties. Instead of showing their hard work, the screen was pitch black. They panicked, asking why I didn’t stop the viewing. In fact, I was too proud of them – they panicked because they cared about their work – so proud I forgot about the situation. Luckily, the issue was fixed soon. We replayed their film, and they were finally happy.

During the two camps in preparation of their 10-minute short film, they all refused to write a romance at first. In the end, they made a love story about two boys. It wasn’t planned – the two leads just happened to be boys, and the story wrote itself. I feigned doubt, asking if the theme was too sensitive. Without hesitation, they told me gender was irrelevant in a story about love. They once again proved adults were too obsessed with labels and definitions. During the production, there were days we stayed on campus till 10 at night and came back at 7 in the morning. We spent afternoons filming on buses, then moving on to indoor scenes. They were exhausted, of course, but nobody gave up. They took turns on set, making sure everyone got a chance to rest. At the end, Marcus and Bryan even asked their classmate Claire to write the theme song and soundtrack. I will always remember the first time they heard their own voices and music from the edited film. They didn’t expect to be moved by their own story. Some were holding back tears, and others were already crying. They realised what mattered wasn’t whether this piece was professional or not – it moved them, and that was good enough.

I’m so lucky to meet them. I never thought I would get to spend time with a group of ethnic minority students. We shared noodles at Tam Jai, went to Ocean Park and played guitar on the balcony of a Filipino family. They aren’t just ‘minority’ – they are young, aspiring souls with dreams and things they love and hate. In retrospect, I was just like them when I first dabbled in film production at 16 or 17. My title may be Teaching Artist but we are more like friends. They remind me of the innocent passion I felt at the beginning – and that’s the most important in anything we do.

在香港長大的日子 Growing Up in Hong Kong

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文︰黃勺嫚,影像無國界導師 | Text: Wong Cheuk-man, Teaching Artist of All About Us
英譯︰黃澄楓 | English Translation: Janice Wong

Bryan正與組員討論拍攝事宜 Bryan was discussing the short film production with his group mates

Bryan正與組員討論拍攝事宜 Bryan was discussing the short film production with his group mates

DotDot Alfs Bryan Pabellan,我們喚他Bryan。他有圓滾滾的眼睛,像兔子的上頷。有時會喚他Dot Dot,聽上來更切合他趣緻的樣子。Bryan現年十七歲,是出生於香港的菲律賓人。不過,他只到過菲律賓兩次。記得第一次到達時,他發現菲律賓原來不如香港繁華。

Bryan在香港出生和成長,他直言自己是一個香港人。他說其他菲律賓同學對菲律賓人身份有更多認同,因為他們有很多親朋戚友的聚會,一聚首便身在菲律賓文化。可是,Bryan的父母先後因病離世,他與兩個姐姐同住,家庭不如其他菲律賓家庭熱鬧,所以他較少機會接觸菲律賓文化,自然較少認同菲律賓人的身份。當然,他知道香港人不易視他們為香港的一份子。他說年長的香港人,總是對他們充滿敵意。有時不小心輕微踫撞,也被人罵得狗血淋頭。住在屯門十多年的他,也沒有相熟的鄰居。他記得曾有鄰居問他可不可以幫忙檢查小孩的英文功課,Bryan當然說好,但最後卻不了了之。

儘管Bryan對菲律賓文化感到陌生,但他如大部份菲律賓人喜歡音樂,富有節奏感和音樂天份。他的父親是樂手,家族裡有人吹色士風和小號,他和姐姐也懂得彈鋼琴。他喜歡廣東歌,會聽張敬軒的音樂,還懂得唱張國榮的《追》。儘管不明白歌詞,但他仍然覺得感動。他說爸爸媽媽非常old-fashioned,因為他們家裡會保留著卡式帶播放器,聽The Beatles 和 Bee Gees的音樂,留著VHS錄影帶來看電影。Bryan說他對電影、音樂的興趣與他的童年有很大關係。他記得小學的時候,去了菲律賓探望重病的爸爸,回港後要待新學年才能上學。每日無所事事,便去表哥家裡看電影。表哥會放不同時代、不同類型的電影給他們看,連經典電影《大國民》他也看過。一說起《大國民》我們便不約而同說出Rosebud。電影最後一幕,主角Kane說完Rosebud便逝去。我們互問對方Rosebud是什麼意思。他說Rosebud代表了主角難忘所失去的童真,因為主角小時侯被父母遺棄時,遺留在雪地的滑雪板名叫Rosebud。他說他看第二次才明白。那時他不到十歲,卻有著細膩的情感。

Bryan is shooting with his group mates 與組員拍攝中的Bryan

Bryan is shooting with his group mates 與組員拍攝中的Bryan

除了看電影、玩音樂,他也想做演員。他想過考完中學文憑試以後,報讀香港演藝學院戲劇系,但不擅廣東話能考入的機會很低。不過他沒有失望,很快又說自己喜歡寫東西,想嘗試讀新聞系、做記者。看過《五星級大鼠》後,還想做美食評論家。讀幼稚園時,更想過做清潔員。難得他仍保持開放的心態,容許自己嘗試不同的事物。當然,他知道在香港生活不容易,為了幫補家庭的開支,他也正在超級市場做兼職,但是他覺得很好玩。

記得,我們組在學校的音樂室開會時,第一次聽Bryan彈奏的是《千與千尋》的配樂。了解他更多以後,覺得他喜歡《千與千尋》也不無原因。《千與千尋》是關於成長,希望他也像千尋般,學會勇敢。

DotDot Alfs Bryan Pabellan – Bryan for short – has round eyes and a pouty, rabbit-like mouth. Sometimes we call him Dot Dot, a cute nickname to match his cute face. He is a 17-year-old Hong Kong-born Filipino. He has only been to the Philippines twice, and he was surprised to find the country much less vibrant than Hong Kong.

Born and raised here, Bryan considers himself a Hongkonger. His Filipino classmates feel more connected to the Philippines – that was because they had plenty of gatherings with family and friends, according to him, which allowed them to share the culture. Bryan, however, didn’t have that. His parents both died of sickness, leaving behind him and two elder sisters. His family is not as lively as others, making it harder for him to reconnect with his roots. Of course, he is aware that other Hongkongers may not consider them as locals. Some older ones are even hostile – Bryan has been yelled at for bumping into someone by accident. Living in Tuen Mun for many years, he still hasn’t managed to make friends with neighbours. Once a neighbour asked if he could help check a child’s English homework, and he said yes. That was the end of that conversation.

Bryan 與其他營友分享有關拍攝短片的想法與感受 Bryan shared his thought and feeling on film production in the last day of camp

Bryan 與其他營友分享有關拍攝短片的想法與感受 Bryan shared his thought and feeling on film production in the last day of camp

Despite his disconnection with his own culture, Bryan loves music. Like many Filipinos, he was born with innate rhythm and musical talent. His father was a musician, a relative plays saxophone and trumpet, while he and his sisters play piano. He likes Canto-pop, especially Hins Cheung, and he knows every note to Leslie Cheung’s classic – Chase. He doesn’t understand the lyrics but it is still moving. His parents were old-fashioned, he noted. They played The Beatles and Bee Gees on cassette tape and watch movies on VHS. His interest in films and music was greatly fueled by his childhood. When he was in primary school, he visited the Philippines to see his sick father. When he returned, he had to wait until the new school year begins. He had a lot of time on his hands, so he went to his cousin’s and watched movies all day. His cousin played classics of different periods and genres, such as the masterpiece Citizen Kane. Talking about the movie, we both mentioned Kane’s last words: rosebud. That was the last scene of the movie, which ended as Kane died. We asked each other what rosebud meant. To him, it represented lost innocence. He pointed out when Kane was abandoned by his parents, the snowboard left in the snow was called Rosebud. He admitted it took him a second viewing to understand the line. He was only ten years old at that time but his sensitivity was beyond his age.

Other than watching movies and playing music, he also wants to act. He has consider applying to the school of drama at the Hong Kong Academy of Performance Arts after DSE, but he knows for someone not fluent in Cantonese, his chances are slim. However, he isn’t bummed. He also likes writing, and wants to delve into journalism. On the other hand, Ratatouille made him want to become a food critic. He even wanted to be a cleaner when he was in kindergarten. Open-minded, he is willing to try anything. Of course, living in Hong Kong is not easy and he knows that. That’s why he works a part-time job at a supermarket to make ends meet. To him, it is yet another interesting experience.

When our group had a meeting in the music room, the first piece Bryan played was from Spirited Away. Knowing him better now, I understood why he liked that movie – it was a coming-of-age story, and I hope he will grow up brave and well, just like Chihiro.

Bryan (左二) 與組員們 Bryan (second left) and his group mates

Bryan (左二) 與組員們 Bryan (second left) and his group mates

想拍電影的開始 What Films are made of

[Scroll down for English Translation]

文︰黃勺嫚,影像無國界導師 | Text: Wong Cheuk-man, Teaching Artist of All About Us
英譯︰黃澄楓 | English Translation: Janice Wong

Jackey在影像無國界營會中擔任導演,參與短片拍攝

Jackey在影像無國界營會中擔任導演,參與短片拍攝 Jackey was the director of his film production group

Jackey Hang Limbu是尼泊爾人,現年二十歲,皮膚黝黑,帶眼鏡,小眼睛,老說自己長得像中國人。他是訓練營我組中年齡最大的學生,比較老成持重,習慣每天早上六時起床,沖個冷水澡,喝杯黑咖啡,最喜歡塔倫天奴的電影,尤其鍾愛他的對白。記得Jackey在拍攝時,表現成熟冷靜,總是不斷提意見,但也很願意聆聽大家的意見。作為導師,我可以放心讓他做導演、攝影師,穩定軍心。只不過他隨時會喊肚餓疲倦,想吃東西,讓人捉摸不定,忍俊不禁。

Jackey在香港出生,因家庭關係,出生四年後又離開了一段時間,輾轉留在香港生活共十年。在港他除了是少數族裔,更是一個過客、異鄉人,不知該在哪裡紮根。父母不在身邊,在香港跟隨親戚不斷搬家,住過灣仔、佐敦和旺角。他說住在九龍區的環境最差,樓宇殘舊,治安惡劣,滿街醉客,還被霓虹燈照得睡不著。他雖然了解在香港居住的壞處,例如租金昂貴,人口過多,空氣質素差;但他還是喜歡香港多姿多彩的生活,在這裡他能認識不同種族的朋友。而且,香港也有迷人的自然景觀,他曾在西貢划獨木舟,發現香港的好山好水。

不過,他認為在香港生活,語言是一個很大的障礙。他說中文沒有字母,沒有一個聲調接近他的母語,要掌握廣東話非常困難。但不懂得廣東話,他根本無法融入香港的生活,例如在雜貨店購物,在餐廳吃飯,他想跟店員多聊幾句也貧乏,語言的問題令他非常困擾。長遠而言,他說留在香港也看不到未來。他想假如要在香港拍電影,也必須懂得中文。他認為自己難以克服語言問題,加上在港升讀大學的機會甚微,所以他預備離開香港,到英國與家人團聚,並計劃在當地修讀電影研究、英國文學的課程。可見,少數族裔的學生會因語言問題,難以在香港發展電影有關方面的興趣。

不過,Jackey對電影的熱情並沒因此而減退。他熱愛電影,除了看電影外,還會上網閱讀研究電影的文章,寫故事,畫漫畫。他喜歡電影,因為電影是一種包含不同感官元素的藝術形式,包括視覺,聽覺,讓觀眾置身夢裡。除了娛樂大眾之外,電影還能改變人的一生。年紀輕輕的他,已對電影有很多想法。記得一次和他坐地鐵回家,他忽然問我怎樣才算是一個好導演。我一直反覆思量,然而他早有答案。他說一個好的導演就是一個好的藝術家,應該不斷挑戰常規,嘗試新的電影語言,向觀眾展示過人的視野。他說假如有機會拍電影的話,他想拍低成本的電影,關於一群陌生人從一開始無法融洽相處,一起經歷了一些事情後,成為彼此的摯友,如親人般相待。我想這電影的主題,遙遙呼應了Jackey在離離合合的生活中最大的體會。

Jackey 與其他營友分享有關拍攝短片的想法與感受 Jackey shared his thought and feeling on film production in the last day of camp

Jackey 與其他營友分享有關拍攝短片的想法與感受 Jackey shared his thought and feeling on film production in the last day of camp

Jackey Hang Limbu is a 20-year-old Nepalese. Brown-skinned, small-eyed and wearing specs, Jackey often joked he looked quite Chinese. He was the eldest in my group, and his maturity shows. Every morning, he would be up at six, take a cold shower then enjoy a cup of black coffee – just like clockwork. Tarantino is his favourite director, whose captivating lines impressed many. When filming, Jackey was calm, collected and eager to exchange thoughts with others. As his Teaching Artist, I trusted his directing and filming decisions, more so his talent to lead – he made people laugh, too, especially when he suddenly asked for a snack or a break.

Born in Hong Kong, Jackey has lived here on and off for ten years, having moved away when he was four for family reasons. Here, he is a minority, a passenger and an outsider with no place to call home. He doesn’t live with his parents. Instead, he moves around the city with his local relatives. He has lived in Wan Chai, Jordan and Mong Kok. The Kowloon district was the worst – the buildings were decrepit, the streets were swamped with crime and drunks, not to mention the bright neon lights that kept him up at night. Hong Kong has its shortcomings – overpriced, over-populated and over-polluted, just to name a few – but none of them matters. Jackey loves Hong Kong for its vibrant, multi-cultural life and the chance to make friends of many ethnicities. The natural scenery is beautiful too – he discovered when kayaking in Sai Kung.

However, language proved to be an issue. Living in Hong Kong, he wanted to learn Cantonese but it was hard. There is no alphabet in Chinese, and the tones sounds nothing like his mother tongue. Not speaking the language means he can’t blend in. He can’t chat freely when he is at grocery stores or restaurants. The language barrier is a big concern of his, and he admitted he couldn’t foresee a future in Hong Kong. If he wanted to make films here, he believed, he must know the language. Yet, it isn’t an obstacle he can easily overcome. The chance of admission to a local university is slim too. This is why Jackey plans to leave and reunite with his family in England, where he will study films and British literature. He decision sheds light on a big issue hindering the local film industry – the language barrier deters minorities from pursuing a film-related career here.

Nonetheless, his passion for films never faded. He loves watching films and actively seeks out research online to broaden his mind. He writes stories and makes comics. He loves films for the various sensory elements contained in one single art form, and how video and audio combines to create immersive cinematic experiences. Films don’t only entertain – they change people. Jackey is young but he understands that, and he has his own ideas already. Once, we were heading home on the MTR. He asked me what made a good director. When I was still contemplating my answer, he shared his: a good director is a good artist who constantly challenges the norm, explores new storytelling methods and exhibits exceptional vision. He then told me had he the chance, he would make a low-budget film about a group of strangers of conflicting backgrounds who bonded over hardship and grew close like family. When I think about it, his idea surely echoes his life – one full of separation and reunion.

Jackey (左一) 與藝術家導師阿勺 (右一) 及組員們 Jackey (first from left) and Teaching Artist Cheuk (first from right) with their groupmates

Jackey (左一) 與藝術家導師阿勺 (右一) 及組員們 Jackey (first from left) and Teaching Artist Cheuk (first from right) with group mates

用影像拉近我們之間的距離 Shortening the Distance between Us by Films

【文︰林森,影像無國界導師】

2018aaucamp1-625林森、他的組員及學生助理 (「影像無國界」 2018/19)
Lam Sum and participants and student mentor of his group (“All About Us” 2018/19)

今年是我作為 ifva 舉辦的「影像無國界」(All About Us) 少數族裔青年影像創作計劃導師的第五個年頭。光陰似箭,還記得我第一次參與時,我的一些組員還只是活潑佻皮的少年人,現在已變成穩重沉實的大學生。最初答允參與這個計劃成為導師,其實只是因為我當時認為作為讀電影畢業的人,也應該將拍攝電影的知識分享給有需要的人,純粹單方面的思考。經過五年時間的參與,我卻發現,我得到的卻比我給予的更多。

從小到大,學校的教育告訴我們,人生而平等,不應因膚色、種族的不同,而有不同的待遇,這是現代最基本的普世價值,我相信絕大部份人都會認同。我也一樣,最初認為香港是一個自由平等的國際大都會,無論甚麼種族的人,得到的機會都必然是均等的,能否把握,大概就只是個人的能力問題吧。可是,後來透過各種機會,跟在港的少數族裔接觸多了,開始了解到很多時他們在融入社會之前,可能因為制度問題,已將他們排拒在外。參與了「影像無國界」,接觸多了少數族裔的青少年後,從他們身上我更理解到,他們的發展可能已被先天局限了。

還記得,一路以來參與「影像無國界」的少數族裔青少年,製作的短片作品題材除了有較貼近他們文化、類「Bollywood」式的歌舞片外,作為導師,我會鼓勵他們從自身生活經驗出發去創作。所以他們的短片作品主題,很多關於學業、夢想和未來發展等,有幾套印象較深的作品,都分別提到他們在香港學習中文的困難和對於他們未來發展的影響。透過觀看這些青少年創作的作品,我更了解到,除了母語、第二語言英文,原來中文對他們來說是第三語言,而因為中文從文法上、發音到書寫都依從一套完全不同的語言系統,他們能聽能講已相當了不起。如要求他們能完全掌握,甚至流利書寫,實在非常困難。所以,對比以中文為母語的本地學生,他們在學習上的困難是難以想像的。亦因為本港教育制度及職場上對中文程度的要求,他們更難在本地升大學、追求更好發展。很多時我問我的組員「未來想做甚麼?」,他們多數都支吾以對。如果我從沒有參與「影像無國界」、沒有跟他們相處過、沒有看過他們的創作,作為一個土生土長的香港人,我根本不會理解,他們在成長階段原來已需面對很多局限。

當然,造成這些局限的原因很多。我們除了要反思政策上或制度上的問題外,大眾媒體某程度上也有很大責任。記得有次帶領組員到球場的觀眾席拍攝,卻遭到一個租了場的足球隊教練攔阻,更差點發生衝突,原因卻只因為該教練以為參與拍攝的少數族裔青少年們在喧鬧。縱使我們多番解釋,卻還是被趕離場。事後跟我的組員討論,他們對於該教練的反應固然非常憤怒,但他們更在意的,是造成這位教練對他們存有偏見的原因。其實只要看看每天的新聞報導及主流電影電視作品中,普遍如何描述少數族裔,我們就會知道答案。

「影像無國界」是這個時代一個很好的平台,為少數族裔青少年提供機會,透過電影創作,訴說他們的故事。它同時是一個溝通媒介,讓少數族裔學生掌握發聲機會,令大眾透過他們的創作,了解他們更多,消解我們之間的偏見及誤會,一同尋找共同生活的可能性。

 2018aaucamp1-293林森與他的組員 (「影像無國界」 2018/19)
Lam Sum and participants of his group (“All About Us” 2018/19)

Text: Lam Sum, Teaching Artist of All About Us

This is my fifth year being the instructor of All About Us, a creative filmmaking project for ethnic minorities youths organised by ifva. How time flies. I still remember the faces of those lively, playful teens during my first year of participation, though they have now become mature, down-to-earth university students. The reason why I initially agreed to be an instructor for this project is simply because I believed as a graduate of filmmaking, I should share my knowledge in the field with people in need. It was a one-sided thinking. After five years of participation, I finally realise that what I have gained far exceeds what I have given.

Growing up, formal education teaches us that all people are equal. People of another skin colour or ethnicity should not be treated differently. This is the most basic universal value with which most people, I believe, would agree. I, too, initially considered Hong Kong as a free and equal metropolitan where people are entitled to the same opportunities regardless of ethnicities. It probably only comes down to personal abilities that determine whether a person could successfully seize the opportunities or not. However, after frequent contact with ethnic minorities in Hong Kong via various channels, I began to understand that a lot of them might have already been excluded by institutional causes way before they are even given a chance to get assimilated into the society. All About Us allows me to get closer with ethnic minorities youths. I learn from them that their developments may have already been limited by outside factors.

As an instructor, I often encourage the ethnic minority youths taking part in All About Us to create short films based on personal experiences other than merely following the Bollywood-style dance films close to their cultures. As a result, a lot of their short films are about their school life, dreams and future developments. A few memorable works talk about the challenges they face in learning Chinese in Hong Kong and the resulting effects on their future. Through these works, I further realise that apart from their native tongue and English as a second language, Chinese is a third language to them. As Chinese possesses a completely different linguistic system in terms of grammar, pronunciations and writing, it is already quite a feat for them to be able to speak and understand by listening. It is extremely demanding to expect them to be able to completely grasp the language or even write fluently. Therefore, compared to local students whose first language is Chinese, the difficulties that these ethnic minority youths encounter in learning are almost unimaginable. The requirement for Chinese at schools and workplaces makes it even harder for them to enter universities and pursue better developments in Hong Kong. I often ask my groupmates, “What do you want to do in the future?”, a question that is mostly met with equivocal or uncertain murmurs. If I had not taken part in All About Us where I spend time with these youths and see their works, I would not be able to comprehend the many limitations imposed on their growth.

Of course, there are many reasons for these limitations. Apart from the existing issues in our policies or institutions that require rethinking, a great deal of responsibility can be attributed to the mass media. I remember I once took my group mates to the audience seats of a football field for shooting. We were stopped by the coach there who rented the field, which nearly led to an altercation. It was simply because the coach stubbornly thought that the ethnic minority youths were trying to make a racket. Despite our many attempts to explain the matter, we were eventually driven out of the field. During my later discussion with the groupmates, they were of course angry with the coach’s reaction. But what really bothered them the most was how the coach had come to be so prejudiced and discriminatory. A casual look at how our everyday news and mainstream movies and TV dramas depict ethnic minorities would have easily revealed the answer.

All About Us is an excellent platform in this generation for ethnic minorities youths to tell their stories through filmmaking. It is simultaneously a communication channel through which these youths can make their voices heard and let the public understand them more through their works, dispelling any prejudices and misunderstanding and seeking further possibilities in living together harmoniously.

專訪「影像無國界2017/18」學生助理--Anis Ur Rehmen

DSC_8724
Anis in All About Us 17/18 Intensive Production Camp
Youtube: https://youtu.be/likEJgAN1Cc

一名少數族裔少年Anis Ur Rehman,拎起攝影機周圍拍,竟係咩驅使佢由All About Us學員成為學生助理?係愛定係責任?等佢親身話俾你知!
Ethnic minority youth Anis Ur Rehman loves filmmaking a lot since he was All About Us participant when he was secondary school student. What urges him to be student mentor of the project? Listen to what he said!

師生無國界 – 導師 胡康倫 專訪

【 文:羅志明 Jimmy Lo,畢業於中大文宗系碩士,從事影像及紀錄片製作】

與導師胡康倫 (Joseph)訪談一開始,他想起剛畢業時,有幸與經驗豐富的前輩一起擔任「影像無國界」的導師。他憶述當時自己仍很稚嫩,懷著戰戰兢兢的心情邊學邊教,眨眼已踏進他任教的第七年。七年後的今天,他會有甚麼不一樣的體會?

Joseph 本身畢業於城大創意媒體書院,主修電影藝術;畢業後他創立自己的工作室,進行不同類型的拍攝項目。但早在畢業以前,Joseph已很關注居港少數族裔,以此為題的作品包括《5 minutes》、《The waterside》和《Shabnum, the dew》等,都曾參與不同影展。對他而言,參與「影像無國界」的教學,可與少數族裔群體接觸,能讓他持續認識這港人未必關注的群體。

 「多年來,我不覺得是在『教』,反而在學生身上學到了許多。」

回想初時帶組拍攝短片時,Joseph很在意「成果」和「效率」。或許是港式文化,他會嘗試告訴學員要「融入香港」的工作方式,期望他們無論是前期或拍攝期間的準備都要做到「快、靚、正!」。有一次,Joseph 因工作關係而估計將遲近二十分鐘,他猜「他們應該還沒到達現場吧?」。怎料當他到埗後,所有人已經預備就緒。他連忙向眾人道歉,但學員們反而沒有半句怨言,亦沒有追問甚麼,就像甚麼都沒發生似的順利完成拍攝。他深深體會到少數族裔群體的特點,他們非常珍惜人與人之間的關係,並不會因別人未達到自己的期望,而輕易責怪對方。經過多年與少數族裔學員相處,Joseph慢慢發現,「其實『效不效率』並不該是首要考慮,反而是想清楚,如果要保持這一段可貴的關係時,是不是要更多站在對方的角度去想」。或許這就是少數族裔一直珍而重之的生活方式,人與人之間的真誠與信任,比成果和效率更重要。經過這一轉念,驟然改變了他看事物的態度,更懂得享受與學員共同努力、一起成長的過程。

歷經七年,Joseph 對於教學內容可算瞭如指掌,但面對多元文化背景的學員,還是要構思不同教學方法,引導學員投入學習拍攝的氛圍。他憶述有一年在營會中自我介紹環節中,發現有來自印度及巴基斯坦的學員,頭耷耷地用不咸不淡的廣東話自我介紹,神情顯得有點不自然。Joseph將之記在心中。後來,營中有一環節要求學員「翻拍」某電影選段作練習。為求讓學生更投入劇情,他讓印巴裔學生以其母語重新演譯了《作死不離三兄弟》(”3 idiots”)。最後,同學們變得更大膽嘗試,表現比預期出色。

 「學習擁抱不同的價值,因不同而精彩」

對於Joseph而言,或許「共融」就是不在他人身上強加諸某套價值,並透過真誠的相處,找出能同時擁抱各方價值的機會與可能性。這始於向別人多走近一步,接觸社會之中不同的人,並嘗試發掘社會本身就存在各式相異的價值。「影像無國界」訓練營就是一個園地,讓不同背景的人走在一起,與自身文化背景不同的人互相認識;並學習擁抱社會中不同人的價值,取人之長,補己之短。這樣才能看到因不同而生的美麗,共同建構因多彩而絢爛的文化多元社會。大概這就是Joseph 在這七年與少數族裔群體接觸當中,所得到能影響他一生的體會。期望這種「美麗」不僅可發生在「影像無國界」之中,更可以散落和根植在社會中每一處。

五人足球場上的板球夢 The Cricket Dream on a Five-a-side Football Field

【 文、攝:羅志明 Jimmy Lo,畢業於中大文宗系碩士,從事影像及紀錄片製作 】

作為香港社會族群一份子,居港少數族裔的聲音一直鮮見於各主流媒體。大眾對少數族裔生活文化的不理解,或多或少產生或鞏固了種種對少數族裔的刻板印象 (stereotype),延續了他們在社會上弱勢群體的狀態。ifva自2009年開始舉辦「影像無國界」少數族裔青年影像教育計劃,旨在為少數族裔提供一個文化平台,以影像為工具,讓他們的故事被大眾看見 (visible)。

「影像無國界」踏入第八年,少數族裔的故事每每讓我們感到驚喜,亦同時自慚於對他們日常生活的無知。當文化和政治即日常 (ordinary),在鏡頭內外,究竟甚麼才是少數族裔的「日常生活」?在今年影像無國界營會中,我們發現不少南亞裔青少年均熱衷於板球活動。一到自由時間,他們便拾起球具,打個不亦樂乎。透過這個機會,我們希望讓大家認識光影背後的少數族裔「板球日常」。

僅次於足球,板球 (Cricket)是全球第二受歡迎的運動。它也是居港少數族裔熱門運動,如它便是巴基斯坦的國家運動之一[1],唯此運動在港卻甚少受到注視。近年政府提倡「體育精英化」,把資源集中於已有卓越成績的項目及個別精英選手,但對較「冷門」的運動和青年選手的支持則未盡完善。

自己運動自己推
現時葵青區至少有約18,000多名南亞裔人士[2]居住,當中巴基斯坦人佔約3,700人。香港聖公會麥理浩夫人中心板球隊(下稱「LMC 板球隊」)於 2011 年成立,板球隊領隊兼社工 Tauqir Ahmad 指出,未有球隊前常見少數族裔青年在公園、足球場或籃球場打板球。該區並無板球場,只有業成街五人足球場是唯一允許打板球的公眾球場,故他們常受驅趕,像遊牧民族般不斷遷移到無人場地作訓練。有見及此,LMC 便成立了兩個年齡組別的球隊,分別是「13歲或以下」及「17歲或以下」組別,讓少數族裔可在安全、有專業裝備及教練下得到訓練。

縱然場地問題嚴重,仍有無數少數族裔青少年願意投身這個運動。隊員Osman 於香港出生,十歲時開始打「簡易板球」(Tape-ball Cricket)[3] 。簡易板球的好處是便宜──由於正式的木製硬球須花約200港元,對於大部份基層少數族裔青年而言,這是個很大的負擔。Osman 加入板球隊後,學習專業「硬球訓練」(Hard-ball Cricket) 已一年多。他指「年前搬到安蔭後,在球隊不單能認識新朋友,更能加強體格訓練和自信心。」

訓練受驅趕,板球路難行
Osman希望將來能打出成就,並有志成為香港板球隊員,但由於沒有正式訓練場地,他練球時經常被保安驅趕。「保安員會拿出對講機說『這裡有幾個巴基斯坦人打板球』,試圖嚇走我們。有時保安更報警,警察到場後便叫我們到較遠的足球場練習。」

社工 Ahmad 理解球員被趕的原因,但仍感無奈。「我們明白場地有分作足球或籃球之用,但區內沒有正式板球用地,我們想打板球,應該要去哪裡?閒置球場便成為我們的次選。」

問及 Ahmad 帶領球隊有否困難,他說:「香港學生學業壓力不少,我希望可讓隊員在安全和沒有太大壓力的情況下進行訓練。」他除了傾向以朋友的方式、平等的態度與球員相處外,更會帶領隊員參與社會義務工作。板球隊曾到大帽山進行垃圾回收,除了希望加強球員合作性及團隊精神外,更希望讓他們了解,少數族裔青年作為社會的一份子,應用自身力量貢獻社會。

結語
現在,LMC 板球隊在香港板球總會舉辦「13歲或以下組別」的在過去五場比賽中已取得四勝一和的,憑佳績高踞榜首,潛力不容忽視。他們面對的場地問題,不單影響少數族裔年輕人追逐板球夢,亦容易加強少數族裔與他人的對立,更阻礙青少年成長時期的自我價值及信心。「影像無國界」本著每個人生而平等的信念,尊重人有不同的背景、喜好及選擇,無論透過影像、透過運動、透過學業,我們相信少數族裔青年值得發展潛能的空間。對於來自不同國家的文化,如每個人願意多行一步去互相了解,要達至社會共融不遠矣。

附註:香港聖公會麥理浩夫人中心少數族裔服務 http://www.skhlmc-em.org/index.htm
__________
[1]板球起源於英國,據說是透過英國士兵和軍官流傳到澳洲、印度、巴基斯坦、南非和加勒比海地區,至今在這些國家仍極受歡迎。
[2]《2016年中期人口統計結果》地區概覽葵青區,http://www.bycensus2016.gov.hk/tc/bc-dp.html
[3]「簡易板球」(Tape-ball Cricket),這項運動由硬球(Hard-ball Cricket)演化出來的街頭運動,源自於巴基斯坦的卡拉奇,是現時巴基斯坦其中一項最熱門的街頭運動。這項運動的特點是相對硬球而言,較輕便、便宜。另外,Tape-ball 相對較輕,而硬球是網球約七倍重,因此在街頭使用 Tape-ball 較為安全。而專業板球賽事主要以「硬球」作賽。

【 Text & Photography by Jimmy Lo
A master’s degree graduate of the Department of Cultural and Religious Studies, the Chinese University of Hong Kong. Devoted to the production of moving images and documentaries. 】

As members of the society in Hong Kong, the voices of ethnic minorities are rarely heard in mainstream media. The general public either do not understand the minorities’ living cultures, or it more or less creates or reinforcing stereotypes that perpetuate the status of the minorities as the more socially vulnerable groups. Since 2009, ifva has launched “All About Us”, a filmmaking educational scheme for young people from ethnic minorities, as a cultural platform for ethnic minorities to express and make their stories visible to the general public through moving images.

As “All About Us” enters its 8th edition, the stories of ethnic minorities continue to surprise us and put us to shame as to how ignorant we are about their daily life. As politics and cultures become part of the ordinary, what exactly constitutes the “ordinary daily life” of ethnic minorities behind the camera? In the camps of this year’s “All About Us”, we discovered that many ethnic minority youths are passionate about cricket. Once there was free time, they would immediately pick up the cricket bats, fully enjoying themselves with hitting the ball. On this occasion, we hope to let people know about this “daily life with cricket” that ethnic minorities lead beyond the films.

Cricket is the second most popular sport around the world after soccer. It is also very well-liked by the ethnic minorities in Hong Kong, such as Pakistanis, who value it as one of their national sports[1]. However, cricket is rarely emphasised in Hong Kong. Despite the government’s efforts in promoting elite athleticism, most of the resources are concentrated in sports that already boast excellent records or specific talented athletes. Support for the relatively “less common” sports and their young athletes is insufficient.

Pushing Its Own Sports Forward
There are now approximately 18,000 residents of Southeast Asian ethnicities living in Kwai Tsing District[2], of which about 3,700 are Pakistanis. The H.K.S.K.H. Lady MacLehose Centre (LMC)’s Cricket Team (The LMC Cricket Team) was established in 2011. Tauqir Ahmad, its team manager who also doubles as a social worker, points out that before the team was formed, ethnic minority youths often played cricket in parks, football fields or basketball courts. There is no cricket field in the district, and the five-a-side football field is the only public place that allows cricket-playing. Therefore, these young people were often chased away like nomadic groups, continuously “migrating” to unattended areas for training practices. In view of this predicament, LMC established two cricket teams according to age category, which are that for “people aged 13 or below” and that for “people aged 17 or below”, ensuring that ethnic minorities can receive training in a safe and well-equipped environment under the guidance of a coach.

Although there is a serious shortage of cricket fields, many youths from ethnic minorities are still very eager to participate in this sport. Osman, one of the team players, was born in Hong Kong. He has started playing Tape-ball Cricket[3] since he was 10. The merit of Tape-ball Cricket lies in its low cost – the official wooden cricket bat, which costs around 200 HKD, is a huge burden for most youths from these ethnic groups at grassroots level. After joining the cricket team, Osman has learnt to play the professional Hard-ball Cricket for more than a year now. “After moving to On Yam Estate about a year ago, I have improved my physical training and boosted my self-confidence, in addition to making new friends,” he says.

Expelled during Trainings, an Arduous Path in Cricket
Osman hopes to achieve success in cricket and make it to the Hong Kong National Cricket Team. However, as there are no official training sites available, he is often driven away by security guards during training. “The security guards would talk into their walkie-talkies, saying “there are a few Pakistanis playing cricket here” in an attempt to scare us away. Sometimes, the security guards might even call the police, who come to tell us to practice in football fields further away.”

Ahmad, the social worker, understands why team players are expelled and feels very helpless. “We are aware that the sites have specific purposes of playing football or basketball. But since there is no official cricket field in the area, where should we go when we want to play cricket? Unattended field or courts inevitably become our choices.”

When asked if there is any difficulty in leading the team, Ahmad says, “Hong Kong students face a lot of pressure academically. I hope the team players can practice in a safe and relatively stress-free environment.” Apart from treating the team players as friends and equals, he also leads them in social volunteer activities. The team once had an outing in recycling rubbish in Tai Mo Shan. In addition to strengthening the sense of cooperation and team spirit among players, it is hoped that these young team players can understand how they should contribute to the society in their power as members of the society.

Conclusion
As of now, the LMC Cricket Team has achieved four victories and a tie in the last five games in the category of age 13 or below, organised by Hong Kong Cricket. The team has stayed at the top of the chart with an excellent score, and its potential should not be overlooked. The lack of training sites does not only impede the dreams of many youths from ethnic minorities in making it big in cricket, but it also easily worsens the strife between the ethnic minorities and others, adversely affecting these young people’s sense of self-worth and self-confidence during their growth. Upholding the belief that everyone is born equal, “All About Us” respects the distinctive background, preferences and choices of every individual. We believe that youths from ethnic minorities deserve a platform where they can flourish and develop their potential, irrespective if it is through moving images, sports, or academic studies. If each and everyone of us is willing to take an extra step in understanding people of different countries and cultures, social harmony will certainly be within sight.

Note: H.K.S.K.H. Lady MacLehose Centre, Services for Ethnic Minorities Unithttp://www.skhlmc-em.org/index.htm
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[1] Cricket originates from the UK, and it is believed that cricket spread to Australia, India, Pakistan, South Africa, and the Caribbean by British soldiers and officers. Cricket is still very popular in these regions today.
[2]《2016 Population By-census Results》Demographic Profile of Kwai Tsing District Council District, http://www.bycensus2016.gov.hk/tc/bc-dp.html
[3]Tape-ball Cricket is a street sport evolved from Hard-ball Cricket and was originated from Karachi in Pakistan. It is one of the most popular street sports in Pakistan today. It possesses the characteristics of being cheaper and more portable, as compared to Hard-ball Cricket. A tape ball is also deemed safer to be played in the streets as it is lighter, whereas a hard ball is used mainly in professional cricket games as it weighs seven times of that of a tennis ball.

專訪「影像無國界2016/17」學員-鄭紫晴、岩崎玲美

 

岩崎玲美(左)、鄭紫晴(右) (Youtube: https://youtu.be/D5aQQf4HkV8)

「影像無國界2016/17」學員鄭紫晴、岩崎玲美繼2014/15 年度之後,今年再次參加計劃。雖然分別有著泰國、日本的血統,但由於只熟悉廣東話,於是與只熟悉英語的尼泊爾裔學員Rai Phirens 合力炮製出一齣名為《Drive》(2016) 的校園愛情小品,打破語言的隔閡。

It is the second time for All About Us 2016/17 participants Cheng Tsz Ching and Remi Iwasaki to join the programme after the 2014/15 edition. In spite of their ethnicity of Thai and Japanese respectively, they produced the film Drive (2016) with the Nepalese participant Rai Phirens, depicting a romantic story in campus, which crossed the boundary of languages.

 

一個尼泊爾少年的轉變 The Growth of a Nepalese Teenager

文:許熙瑜︱ Text: Hui Hei-yu Ernest
英譯:彭程顥︱ English Translation: Noel Pang

尼泊爾人,是居於香港的非華人少數族裔之一,本地關於他們的報導,往往都集中討論他們的身份認同、生活困況等。其實有多少人願意踏出第一步去認識他們?

Bipin 拍攝《Don’t JustDream, Do!》(2013)

三年前因為香港藝術中心「影像無國界」計劃而認識了Bipin Bishwokarma。當時身為學生助理的我,第一次有機會與少數族裔青年溝通,並合作製作一條短片。初認識時便了解到他對於影像創作只是剛起步,不論器材等硬件,抑或影像背後的概念,都要靠計劃提供的訓練及藝術家導師(當時是賴恩慈小姐)的指導。

他們製作的短片到最後「轉彎入直路」時,從他和同組少數族裔同學們所展現的熱情、執行力,以及作品的完成度之高,都不難發現其實少數族裔跟我們一樣對藝術、對創作都有自己的要求。最令我感到深刻的是Bipin 的執着,在遞交作品的前一個晚上,當所有組員都已滿意作品而去了睡覺,只有Bipin 不眠不休地修改細節,稱他為完美主義者也不為過!

《Don’t JustDream, Do!》(2013) 劇照

《Don’t JustDream, Do!》(2013) 劇照

跟他談藝術,清楚記得當時十七歲的Bipin 劈頭第一句是「art does not have a specific form」。他認為拍攝、影像等只是表現方式,製作短片時往往會提出大量問題,並思考其他表達方式會否更佳。他也會運用自己的專長去幫助說故事,例如他與同組同學的作品《Don’t JustDream, Do!》中的一些鏡頭,就用上了他熱愛的跑酷運動(parkour)的能力才能完成。

輾轉三年,位置變換,Bipin 成了今年「影像無國界」的學生助理。與他共進晚餐後發現,一個曾經在拍攝前要去吃「雲桂香」米線的男生,竟然成了純素主義者(vegan)。Bipin 解釋說這其實是一種自我選擇、一種生活方式,他希望可以盡自己的能力去減低人類對動物的消費。儘管他的家人搬出「成長需要」等理由,他也不為所動。他表示,決定了做一件事,只要知道自己正在做甚麼,行動背後有自己相信的理由,就已經足夠。

二十歲就有這份信念,香港可算「買少見少」。可能就因為這份信念,兩年前他更差點連大學學位都打算中途作罷。本來他一心修讀與影像有關的課程,卻深深感到香港的課程設計旨在培訓工作機器,覺得這並非自己想要的教育。雖然掙扎過後,他還是以「用一紙證書向大部分人證明我並非未接受過教育」為理由說服自己完成課程,但已見到他對自己信念的堅持。

Bipin 擔任學生助理指導學員拍攝

Bipin 擔任學生助理指導學員拍攝

晚飯詳談,我發現相比他的外表,改變最多的是他的思想。Bipin 以「life is art」總結我們的對話,可見他有多重視由自身出發去理解這個世界,進而影響他人。分道揚鑣之前,我嘗試用半咸半淡的英文跟他解釋中國人「修身、齊家、治國、平天下」的概念,Bipin 笑笑口說明白。我相信他理解箇中意義,更相信他會嘗試實踐。

 

Nepalese people are one of the minority population groups in Hong Kong. Local discussions about them tend to revolve around such issues as their identity recognition and living predicament. How many of us are willing to take the first step to understand them?

I met Bipin Bishwokarma in “All About Us” – a video project organised by the Hong Kong Arts Centre – three years ago. It was the first time for me, as a student mentor, to co-create a short film with a group of Nepalese teenagers. Upon our encounter, I understood Bipin was a beginner in video production. An arts instructor – Lai Yan-chi by then – was therefore required to provide trainings on equipment knowledge and concepts behind images, etc.

I was impressed, at the final phase of their project, by the passion and executive ability displayed by Bipin and his fellow ethnic minority school mates, as well as the level of completion of their work. It is not hard to notice they had their own expectation for art and their creation as much as us. What struck me most was the insistence Bipin had. Before the date of submitting, he spent the whole night without sleeping to fine tune their work, while all his fellow partners were satisfied and went to bed.

I have a vivid memory of the first comment he voiced out on art when he was 17, that “art does not have a specific form”. He believed such elements as video shooting and images are but forms of expression. In the process of production, he would raise a number of questions, and contemplated on alternative and improved ways of expression. Moreover, he would utilise his specialised skills to help tell his story. In Don’t Just Dream, Do! – the project he finished with his fellow schoolmates – certain shots could not be completed without the ability he gained by playing his favourite sports, Parkour.

Three years passed and our positions have changed. Bipin took part in this year’s “All About Us” as a student mentor. He told me that he had gone vegan, which was hard for me to believe as he once insisted on visiting his favourite restaurant before shooting a scene. He explained that it is a choice of his own and a way of life. He hopes to reduce human’s consumption over animals as much as he can. His family, who tried to convince him not to turn vegan with reasons like “the need of growth”, failed to make him change his mind. He stated that, in order to take action, the only thing one is necessary to know is what you are doing and the motivation behind.

It is rare to see someone with such firm beliefs at the age of 20 in our city. But such altitude may have its downside. He almost quitted university two years ago. With the intention to take videorelated courses, he was disappointed by the syllabus whichover-emphasised vocational training. He struggled and finally convinced himself to complete the programme since he hoped the certificate could serve as a proof of “being educated” to others. What a persevering soul that is!

From our conversation, I noticed that, comparing with his countenance, what changes most is his ways of thinking. He concluded our dialogue with the statement “Life is art”, which shows his strong emphasis on understanding the world from his perspective, and furthermore, on influencing people. Before parting, I attempted to explain to him in Canto-English, the Chinese Confucius saying of “cultivating oneself, keeping one’s family in order, running the country well and bringing peace to the world”. He said he understood with a smile. I believe he truly does, and will practise them in real life.

 

A Girl’s Make Up (Interview with All About Us participant Glady)

As a 16-year-old girl, Glady doesn’t enjoy carrying “pretty” make-up, but rather creating scars and wounds on the face. Glady likes special effect make-up and moving images. She doesn’t really learn from teachers and simply use her mother’s cosmetics to create for fun.

Why Glady is so fascinated by those scary wounds and the extraordinary colour? Perhaps it’s the unspoken enthusiasm driving her to make the art.

作為一個十六歲少女,Glady不愛化「漂亮」的妝,反而愛在臉龐上化上傷疤,皮開肉爛。她喜歡特技化妝,喜歡影像創作,沒有真正的老師,一切只是從心而發,本著好玩、有趣,就拿起媽媽的化妝品隨意試試。我一直覺得,每個喜歡創作的人,大概都有他創作的原點,就是那份當初的熱愛,不涉及什麼天份才華,也與名利金錢無關,就是純粹的喜歡。在訪問中,雖然Glady說自己選擇了這條路,但其實我一直想,到底是Glady選擇了創作,還是創作選擇了Glady?為什麼Glady會對這些嚇人的傷口如此著迷呢?為什麼會這麼鍾情於紅紅黑黑的顏料呢?我不知道,或者Glady自己也說不清,但大概這份難以明言的喜歡,就是每個創作者的本心吧?