看見與被看見 To see and to be seen

文︰楊兩全,影像無國界藝術家導師 | Text: Yeung Leung-chuen, All About Us Teaching Artist

這一年All About Us 的五段創作短片中,有三條以紀錄片作為表達形式(其中《Bibi, the Ghost》是仿紀錄片),兩條則是劇情短片。半數作品為紀錄片,頗出我意料之外的。筆者是這屆All About Us 的創作導師之一,過往也曾在不同中學或社區中心當短片創作導師,學員是香港本地青年,他們幾近本能地會以劇情短片作為他們的創作方向,甚少選擇紀錄片此一表現形式。這傾向並不令人意外,畢竟我們日常接觸的影像養份,均以電影、電視劇或網絡短片為主。因此,我對這屆All About Us 出現佔半的紀錄片作品感到驚喜及好奇。

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《US》All About Us 2019/20 Student Creative Film

或許與教學內容有關(這屆All About Us的創作營有專門教授「紀錄片」的環節,當中包括訪問對談技巧等),但創作者本身想要「被看見」這一點或許也是一個不應被忽視的要素。與一般紀錄片導演尋找想要紀錄的「他者」不同,他們的紀錄對象就是身邊的團隊成員。換言之,他們是有被訪的自覺,是自我紀錄,是一個自我揭露的過程。就如《US》,講述團隊裡六人的生活與夢想,當中有獨特南亞文化特色的板球夢,也有如一般香港本地青年無異的廚師夢、籃球夢、科學夢等等。創作者有意識地呈現自己的生活、自己的夢想,彷彿是一幅集體自畫像,想讓人「看見」自己。又如《Loving Your Life》,這短片更是觸及Windelyn的內心世界,呈現她因家庭所遭受的傷痛以及在同伴朋友間經歷的愛,內容相當私密與真實,是一次坦誠的剖白。

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《Bibi, the Ghost》All About Us 2019/20 Student Creative Film

《Bibi, the Ghost》是一條仿紀錄片,訪問一隻鬼的生活的「紀錄片」,風格幽默風趣、創意令人眼前一亮。鬼,作為相對於人類的小眾,有著獨特的生活模式與文化,經常不被人類所理解,承受被邊緣化的孤獨。我不肯定這是不是創作者有意識的藝術處理,但這不期然令人解讀成少數族裔的自仿。以「鬼」作喻,訴說「鬼」的故事,也是訴說自己作為少數族裔的故事和心聲。

另外兩條是劇情短片《Not Even Close to Any K-Drama Ever》及《Not So Ever After》。相對《US》與《Loving Your Life》這類將自己以紀錄片方式直接呈現;創作者的影子在劇情短片中,通常都隱藏在故事背後,但我們還是可以從這些作品中窺見創作者的部分面貌。

在《Not So Ever After》中,貧窮的女主角、被同學欺負的校園生活、未能結果的青春愛情……這些元素都不時出現在過往All About Us的作品,也是香港本地學生作品的常見題材,畢竟這些事情很可能就是他們的日常生活,比較容易作為素材轉化成創作。至於《Not Even Close to Any K-Drama Ever》,從劇名的自嘲就可看出端倪——這條短片仿拍韓劇,以誇張的手法突出那些韓劇「經典」情節,藉此加以反諷,拍出一條饒有趣味的喜劇。由此可以想像,這短片的創作者與很多香港本地、以至世界各地的青年一樣,深受韓流文化影響,才會拍出這條戲仿之作。

創作本身就是一種「被看見」的過程。不論是帶有自覺的自我展示、抑或是透過比喻、故事轉化,我們都能從作品中看見創作者。我慶幸能透過這些作品,認識、了解他們的世界,更慶幸看見他們願意被看見,甚至想被看見。這也是「影像無國界」可貴的地方。

 

Among the five creative short films for this year’s All About Us project, three are documentaries (of which “Bibi, the Ghost” is a mockumentary), and two are short dramas. I am one of the teaching artists for this year’s project and the fact that over half of the works are documentaries is quite beyond my expectation.  I have teached creative short film production in various secondary schools and community centres where participants are local Hong Kong youths. Instead of documentary, they usually instinctively choose to present their creation in the form of short drama. Their preference is not surprising, after all, movies, TV dramas or online short videos are the main kinds of moving image we received in our everyday lives. Therefore, I felt surprised and curious when half of the works for this year’s All About Us are documentaries.

It may be a result of the set of teaching content (There was a special session on documentary in this year’s creative camp which includes interviewing skills); however, an important element which should not be overlooked is the wish of “to be seen” from the creators. Unlike general documentaries that the directors are trying to record the Others, the targets for recording in these short films are the creators’ team members around. They are, in other words, aware of being interviewed which made the filming a self-documenting and self-disclosing process. “US” describe the lives and dreams of the six team members: some dreams to be a cricket player which certainly is of unique Southeast cultural characteristics, others share common dreams as local Hong Kong youths such as to be a chef, a basketball player or a scientist.  The filmmakers consciously present their own lives and dreams as if they are making a collective self-portrait, letting themselves to be “visible”. Another short film “Loving Your Life” that touches on Windelyn’s inner world, depicting the pain she suffered because of her family and the affection she experienced among her friends. With these private yet genuine content, the film is an honest confession to the audience.

"Loving Your Life" All About Us 2019/20 Student Creative Film

“Loving Your Life” All About Us 2019/20 Student Creative Film

Humorous, and dazzlingly creative, “Bibi, the Ghost” is a mockumentary that mimics the life of a ghost. Ghosts, as a niche relative to humans, have unique lifestyles and culture.  Often they are misunderstood by humans and suffer the loneliness of being marginalised. I am not certain if it is a conscious artistic treatment by the creators, yet I can’t help interpreting the treatment as a self-imitation of ethnic minorities. With “ghost” as a metaphor, telling a “ghost” story is actually telling the creators’ own story and feeling as an ethnic minority.

Other than documentaries, the two short dramas are “Not Even Close to Any K-Drama Ever” and “Not So Ever After”. Comparing to “US” and “Loving Your Life” which directly portrayed themselves in the form of a documentary, creators of these short dramas usually hide their themselves behind the story, yet we can still glimpse some aspects of the creators.

"Not Even Close to Any K-Drama Ever" All About Us 2019/20 Student Creative Film

“Not Even Close to Any K-Drama Ever” All About Us 2019/20 Student Creative Film

“Not So Ever After” depicted a girl who faced difficulties in all aspects of life: poverty, school life full of bullies by classmates, a puppy love that bears no fruit … all these elements have frequently been found in past works All About Us, which are also common motifs in videos made by local Hong Kong students.  After all, these issues are likely to happen in their daily lives, so it is easier to be put into their creation. The self-mockery in the title “Not Even Close to Any K-Drama Ever” hints that the film is copying a Korean drama. By featuring “classic” plots in Korean dramas with exaggeration, it makes a sarcastic comedy full of fun. By viewing the video, we can simply imagine how Korean culture deeply influenced not only the creation team of this short film, but also many young people in Hong Kong and the rest of the world.

"Not So Ever After" All About Us 2019/20 Student Creative Film

“Not So Ever After” All About Us 2019/20 Student Creative Film

Creation in itself is a process of “being seen”. Be it a self-conscious display of oneself, a metaphor or a story, we can see the creator in the work. I am delighted to know and understand their world through these works and are more delighted to realise that they are willing to be seen, and even longing to be seen, which is also the value of the project “All About Us”.

香港電影與傳播媒體的「多元與包容」 “Inclusion Rider”… How’s it in Hong Kong Film and Media Industry?

文︰劉嘉汶,影像無國界教學助理實習生 (嶺南大學視覺研究系學生) |
Text: Carmen Lau Ka-man, Teaching Assistant Intern of All About Us (Student of Visual Studies Department, Lingnan University)

“I have two words to leave with you tonight, ladies and gentlemen, Inclusion Rider.” Frances McDormand closed her Oscar speech with these two simple words.

Frances McDormand at Oscar 2018 called out the industry for "inclusive riders". Photo Source: The New York Times

Frances McDormand at Oscar 2018 called out the industry for “inclusion riders”. Photo Source: The New York Times

The certain level of diversity in terms of cast and crew on film is unsatisfied and failed to meet the demand yet, which leads back to one of the rooting factors of this issue, which is lack of integration between ethnic minority and dominated majority.

Speaking of the ethnic minority, what is the first group of a race that comes up on your mind? Is it the Southeast Asian people? The ethnic minority doesn’t confine to a single group of races, like Caucasoid, Negroid, and Chinese, all of us could be an ethnic minority, as long as we are differ in race, national or cultural origin from the dominant population.

Carmen Lau Ka Man. Teaching Assistant Intern of All About Us 2019/20

Carmen Lau Ka Man. Teaching Assistant Intern of All About Us 2019/20

 

In the past, an ethnic minority in Hong Kong faced a different type of discrimination or even abuse. How ridiculous is it? A place claimed as advanced and civilized, can barely embrace the races different from us. It is worth-considering if they change their name, would the situation be different? Seemingly, the answer is certain and not reasonable to deprive their identity. The issue is beyond what has mentioned above, are the exclusivity and perceived stereotype that leads to an insufficient understanding of them.

The complexity of “marginalized audience identity” posed the ethnic minority in a marginal position to confront the mainstream’s mass media.

When we walk through the history of Hong Kong film, Hongkonger, able-bodied role keeps the norm on screen; Southeast Asian people have a relatively low representation and do not commonly show on the screen. Even, if they do, their roles are usually related to clumsy, demonized and absurd characters. The mass media and local news often render the negative image of south Asian people in Hong Kong, the industry adapted and consumed the mainstream idea to shape their character, which in a sense, consolidated the preconceived image of them.

Only very few have achieved the tension of the successful ethnic minorities’ image. For example, Gill Mohindepaul Singh (喬寶寶), Peter Gana (陳彼德) and Ricky Chan (陳振華) are some of the few successful actors entering the film industry. Interestingly, the film offers a one-way channel to them to expose the everyday life of the dominated population, but, it did not have a thorough chance to count them in. Perhaps, it implies that we did not walk in their shoes to make the stories and bear in mind the stereotypes. Additionally, Mohammad Kashif (巫加沙), one of the actors of Testimony (山下的證詞), he indicates in an interview that although he is fluent in speaking and listening to Cantonese, the level of reading and writing is not that good, so he spent more time to read the script. This suggested that language hindered them to communicate with the local Hongkongers,  as they have not been taught by the mainstream Cantonese.

These signs reveal the deficiency of understanding and demand to strengthen the rising voice and insight from them.

Facing this situation, it is vital to have their voice to show their stories and thoughts. In a way, to let the viewers understand and listen to them. In the Southeast Asian Short Film Competition, several compelling stories from the different regions come together and give a diversity of bold and reflective messages about our ever-changing society and oneself. For instants, “I’m Not Your F***king Stereotype”, (https://www.youtube.com/watch?v=L7eg9R3olqQ) it is about a Muslim girl, Maryam who moved to Thailand has become the prey to racism in her school and had to deal with the stereotype gaze from majority’s religion of other students in school, which made her experience the identity crisis and detest her birthdate, name and even region. This is a critical film presenting their real though and struggle in life, which filled up the cultural gap between Buddhists and Muslims

The program paves a good method to let them express and communicate in a new approach. While the short film reminds me of a multimedia project containing the style of the documentary by Jianne Soriano, a student who is a Hong Kong-born Filipino, it calls “Own Voices: Breaking Stereotypes” (https://www.youtube.com/watch?v=rBRIBMcqMlI). The video tells the first-hand stories from four different ethnic minority members of our society.

According to Soriano, “Growing up in Hong Kong I didn’t see a lot of people who looked like me on TV or in the wider media.”

She hopes to build a bridge of connection and understanding between the Chinese counterparts and the ethnic minority. Meanwhile, examining the stereotype helps to break the negative image. Instead of, passively showcasing the preconceived perspective, Soriano took the initiative to start a conversation and an interaction to depart from the traditional stereotypes. Besides that, some of them took a further step to create a YouTube, The HBA by a group of three ethnic minority members and film their videos. One of the creators mentioned that the youngster is not into television, so they can only go for the online platform to speak for themselves. The Intertextuality of the video allows the viewers to leave comments on their channel and have an idea that how they see Hongkonger.

Taking the initiative by them undoubtedly eases the preconceived conception and has a more comprehensive understanding of them. Is it enough? Recently, the movie “Still Human” (淪落人)  resounds for the Filipino in Hong Kong, the story tells about the relationship between a paralyzed man and a maid. Unlike what the mainstream has labeled the Filipinos, low education and no culture. The film shows the sincerity of human being, simple yet delicate. They gradually build a deep mutual trust, while they exude a touch of sorrow in the face of the destiny of life. This creation has spared no effort to invoke the local spirit and identity of Hongkonger, it reshapes the image of a domestic helper through the exquisite and genuine act.

The ethnic minority is one of the important parts of Hong Kong’s population. They are diverse in culture, and the general public has put their attention to those groups in recent years. Despite the difficulties and discrimination that they have suffered, many ethnic minorities are striving to survive in their way and merging themselves into society. Hence, the general public does not have a meaningful understanding of them and they have a bare chance to channel personal contact and interaction with them. While the continuing shaping of negative ethnic minority images through the mass media in the past, which has deepened the cultural stereotypes. Therefore, the development of new media has opened up opportunities to let us understand and know more. The mainstream has gradually shifted their attitude towards the ethnic minority like the recent film about them. Meanwhile, it is a two-way communication despite the language barrier.

Our (Film & Media Industry) hard work is significant to achieve social integration.

Carmen Lau. Shooting with Ethnic Minorities Youth during All About Us Creative Camp 2019/20.

Carmen Lau. Shooting with Ethnic Minorities Youth during All About Us Creative Camp 2019/20.

Film and media have a close connection to the development of ethnic minorities, in the past, they established a vivid and unauthentic appearance about them, and to have a better understanding, it is good to showcase their bits and pieces like the differential culture and lifestyle. Perhaps, in the future, cultivating social diversity is necessary to create two-way communication from different sides and have a well-rounded policy about media and film, like what Frances McDormand has advocated.

(只提供英文版本)

共同創作,讓我明白「歧視」這一回事… Understanding the root of discrimination through the video production with ethnic minorities in Hong Kong

文︰劉嘉然,影像無國界實習教學助理 | Text: Lau Ka-yin, Teaching Assistant Intern of All About Us

“To be honest, before this program, I was like the typical Hongkongers, I don’t like them……”

Lau, Ka Yin. Teaching Assistant Intern of All About Us 2019/20.

Lau, Ka Yin. Teaching Assistant Intern of All About Us 2019/20.

As we all know, ethnic minorities in Hong Kong are discriminated against by the locals. Because of their race, they suffer a lot in our society. To be honest, before this program, I was like the typical Hongkongers, I don’t like them. But after knowing more about them, I found that they are not as bad as we thought.

The standard images of ethnic minorities to the locals in Hong Kong are selfish, greedy, cunning, etc. People with these stereotypes will refuse to get in touch with them, which let people harder to understand their situation and who they are. Therefore, I think that the root of discrimination in Hong Kong is that people do not know much about them.

In this program, I was required to produce a video with a group of ethnic minority children within several weeks, in between the production, I had a camp with those children for 3 days. After our production, different groups will have their movie handed in, and we had a screening day of those movies.

“Each section of the program allows me to know more about them.”

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Yin, during All About Us Creative Camp 19/20, shooting with the participants

In the first event, which is the camp, I lived with them and produced a short video clip with them. I found that they are passionate and creative, and unlike the stereotypes in our minds. They are willing to pick up the responsibilities and willing to work as a team. They are fun, naive and cute. They always come up with many creative ideas.

The most memorable part in these few days is an activity called “Act like Charlie Chaplin”, each group of people has to make a video in the style of Charlie Chaplin, and the plots were decided by the children. At the very beginning of the activity, the children actively gave out their ideas and divided their job on their own, and they are just like us, eager to learn, to participate in activities.

Maybe sometimes they might act a bit odd to some people, like too aggressive to conduct their opinions to others, but the reason why they are behaving like that is that they want attention from people. As they had always been omitted by others in their life, and thus, they are eager to show themselves to others. If people do not know much about their inner mind or background, perhaps they might act like too offense and thus refusing to communicate to them but also label them as the “rude”. And it’s a cycle that once people got a stereotype on them, they will then not get in touch with them, and knowing nothing about them, and then the stereotype continuous.

During the production period, I can observe them in detail as teaching assistants. Director, me and the other teaching assistant suggest they do whatever they want, to express their real side through the project. In this way, we can more or less know more about their mind through their theme, most of the themes are about themselves, and a story about their life, their life goals, and also some of the struggles that they faced during chasing their dream, they wanted to be understood.

“And it’s a cycle that once people got a stereotype on them, they will then not get in touch with them, and knowing nothing about them, and then the stereotype continuous…”

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Yin, teaching participants about camera movement during All About Us Creative Camp 19/20

Video making as one form of art, and in this program, it served one function of act, which is to express. Through expression, we can more easily understand their inner mind, meanwhile, cause some of the feelings that we don’t know how to express in words. From the theme of the video, the camera movement, to the script, those can all reflect the feeling of the producer. Therefore, though the production, we can know more about them.

The dreams to them seem even harder to achieve than ours because the opportunities for them to achieve their dream is lessened by many factors, like languages and social status. For my team, the movie is about the life of one of the groupmate who was raised in a broken family and living in a subdivided unit. Poverty and the family situation keep her out of getting advanced education or leisures, which let her even harder to achieve her dream. As a typical local living in Hong Kong, I once thought that ethnic minorities contribute nothing to our society. If I did not attend this program, I would not have seen their works and get along with them, I think I will not know much about their situation, and limitations. But now, I will more or less understand their behavior and willing to get along with them.

“Indeed, I am not an expert on the cultural policy, but what my experience taught me is no need to label them. Let them be part of our society, not in their ethnic minorities circle…”

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Yin with his group of participants in All About Us Creative Camp

To conclude, the root of the discrimination in Hong Kong is people don’t understand them. To eliminate the root, I think education is not enough. Because if we are taught not to discriminate against the ethnic minorities, the action itself is already labeling them as differentiated from us. People will then take more care to them, then the action itself is already discrimination to them.

Indeed, I am not an expert on the cultural policy, but what my experience taught me is no need to label them. Let them be part of our society, not in their ethnic minorities circle. Labeling them as differentiation is the first step of discrimination. The more we know about them, the less discrimination will occur in the future.

(只提供英文版本)

 

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

[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

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.