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Basebox Theater The Quest for New Opportunities in Performing Arts Scene.
Despite being home to many talented performance artists, some of whom have gained international recognition, Chiang Mai lacks sufficient venues to host performance shows. To help address this challenge, a group of performing artists came together to create the ‘Basebox Theater’ project, transforming the exhibition hall on the first floor of TCDC Chiang Mai into a 100-seat theater from August to early September 2024. This initiative not only gave Chiang Mai residents the chance to enjoy a variety of entertaining shows but also showcased new possibilities for staging performances.We had the opportunity to interview with the Basebox Theater team—Chaiwat Loachotinan, Apichai Thianwilairat, Sasiwimon Wongjarin, and Sutira Fankaew—about the origins of the project and their hopes for expanding performance spaces in Chiang Mai and throughout Thailand, aiming to make the performing arts more accessible, enjoyable, and sustainable.From ‘Len Yai’ to the Box“This project is a reflection of the ‘Len Yai’ (Big Play) show that Apichai and I created for Chiang Mai Design Week over the past two years. We realized, along with the festival organizers at CEA, that although our country has abundant resources in the performing arts, there aren’t enough venues for artists to perform. This is one reason why performance culture isn’t as popular here,” Chaiwat Loachotinan explained.The ‘Len Yai’ project that Chaiwat referred to was a performance arts show where he and Apichai transformed public spaces in the city’s Chang Moi and Ratchawong districts into temporary performance stages for short performances over nine days during the Chiang Mai Design Week 2022 and 2023. It added color to the festival with creative flash performances from artists of various generations.Following ‘Len Yai,’ Apichai and Chaiwat proposed a new idea to CEA: What if they created a model of a small theater that could be set up in various closed spaces throughout the city, such as hotel conference rooms, multipurpose rooms in offices, or even classrooms? This model could ignite new possibilities for creating performance spaces.“Once CEA understood the limitations the performing arts scene faces here, we agreed to collaborate on creating a pilot space by transforming TCDC Chiang Mai’s exhibition hall. This became the foundation for the Basebox Theater project, named to match the box-like structure of the room. We also made the shows free of charge for anyone interested,” Chaiwat said.A Gathering of Theater EnthusiastsThe team aimed to showcase the diversity of performing arts through this project, leading to the curation of four distinct shows. These included the mixed media performance On & On by LittleShelter Box, a musical titled Love Letters from XXX by Part Time Theater, the contemporary dance Overlapping (extended version) by Makham Pom Theater Group, and a demonstration acting workshop called Approaches, where Chiang Mai artists from different disciplines were invited to participate in an acting workshop. Audiences were free to observe this five-hour process, much like a reality show.“We performed every Friday, Saturday, and Sunday from mid-August to early September, with a different show each week. We chose performances that were fun and easy to understand in order to attract people who might not have followed this art form before,” Chaiwat explained.“Two of the four shows (On & On and Approaches) were newly created for this event. For the other two shows, we introduced new elements by collaborating with artists from other disciplines to further develop the stories. We believe this not only showcased the potential of the space and provided entertainment but also created a cross-disciplinary learning process for the artists,” said Aom, Sasiwimon Wongjarin.In addition to coordinating and managing public relations for this temporary project, Sasiwimon is the founder of Studio 88 Artist Residency, an organization that connects international artists with opportunities to live, learn, and create in Chiang Mai. As part of this initiative, she invited Irish visual and digital artist Jonathan Armour, who had previously worked with her on a residency project, to collaborate and adapt his work with the shows.“We not only shared artists but also rehearsal spaces across projects, which was a perfect fit. Besides Studio 88 Artist Residency, we participated in another project by the CEA called Upper Floor, which aims to revitalize the second floors of commercial buildings in the Chang Moi-Ratchawong neighborhood. (Sasiwimon opened a gallery on the second floor of The Goodcery – the author). Another participant from Upper Floor, Base Performing Arts, not only presented shows at Basebox Theater but also shared rehearsal spaces with other groups. This collaboration across projects benefited both performance and rehearsal spaces, which were not originally designed for such activities,” Sasiwimon noted.The Rise of Small TheatersAs for the reception of the four shows across 13 performances (starting on Friday, August 16, and ending on Sunday, September 8, 2024), the team reflected on some unexpected insights.“Although these were short shows with limited time, I feel that this project or performance model can be replicated and set up in other locations. Importantly, many artists initially thought of TCDC as just a space for libraries and design exhibitions, but now they’ve seen new dimensions of how the space can be used,” Chaiwat said.“Additionally, hosting performances in a venue like this helped performing artists reach new audiences. And based on the nearly full house at every show, it’s a good sign that there’s quite a lot of interest in this type of art, but people didn’t know where or how to find such shows in Chiang Mai,” he added.Sasiwimon also shared an interesting perspective: besides the performance space, having a central coordinator to link everything together is crucial if we want to sustain a performing arts culture in Thailand.“We believe many spaces are open to hosting performances like this regularly, but they don’t know how to start or how to connect the artists and audiences. Even though this project was supported by CEA, the outcome shows us what’s been lacking in our performance scene—funding, space, audience outreach, publicity, and, importantly, a manager to bring everything together. It’s not just about production but also about fostering collaboration and sparking post-performance discussions to explore new ideas in both art and management,” she explained.During the event, Sasiwimon also collected data and audience feedback by providing sticker price ranges for audience members to place on their seats, indicating how much they were willing to pay for tickets.“We set the lowest price at 200 baht and the highest at 800 baht. Surprisingly, many shows had people sticking 800-baht stickers on their seats. After the performances, several attendees even asked why there wasn’t a 1,000- or 1,200-baht option. This showed us that there are many people—locals, tourists, and expats living in Chiang Mai—who are willing to pay for this kind of performance. Some older audience members also suggested we create shows for children, as they want their kids to participate in such activities. This feedback made us realize the potential for creating a small theater with ongoing performances,” she said.Before wrapping up, we asked the team if we might see similar shows again in the future.“Honestly, I’d love for this to become an annual festival. I believe that moving forward, the challenge won’t be about space but about finding sponsors to support the shows and theater groups so they can continue without relying solely on funding from organizations or overseas. It’s already clear that as long as we have a venue, we can set up the stage, lighting, sound, and seating. The next question is how we can keep these performances running sustainably, and that includes building a theater-going culture in the community. But I’m confident that if we can create this ecosystem, we’ll see even more talented performing artists emerge in Thailand,” Chaiwat concluded.Igniting the Small Theater SceneThe response to the performances—13 shows over four weekends—exceeded expectations. Nearly every show was fully booked, demonstrating that there is significant interest in this type of art. “There’s a real demand for performances like these, but people often don’t know where or how to follow them in Chiang Mai,” Chaiwat noted.Sasiwimon, who managed the project’s communications, added that creating more venues and having intermediaries to connect artists, venues, and audiences is key to fostering a sustainable performance culture.“We’ve learned from this project that the performing arts scene in Thailand lacks not just funding, venues, and audience reach, but also intermediaries who can bring all these elements together. It’s more than just the production—it’s about creating a system that encourages collaboration and conversation to develop new ideas, both artistically and organizationally,” she concluded.“Len Yai Performances” are a series of diverse performances presented for Chiang Mai Design Week. This year, creators and performing artists from both Chiang Mai and abroad are invited to participate in creating performances to celebrate Chiang Mai’s identity as a city of festivals and creativity. Performances will take place over 8 days in key areas targeted for development as major tourist destinations and creative economic districts of Chiang Mai.
02 Dec 2024
Before "Wankerd" – Behind the Scenes of the Short Film from Film Space
“Wankerd (The Other Side) ” is a 42-minute short film that tells the story of a single mother in Chiang Mai, struggling with life’s challenges and the grief of losing her child. The film explores how the ancient Lanna ritual “Wankerd” may offer her a path to healing.Produced by Film Space, in collaboration with CEA Chiang Mai, the Faculty of Information and Communication Technology at Maejo University, and the Friends Without Borders Foundation, the film was directed by award-winning short film director Chawang Chaiyawan, written by Natthan Krungsri, and produced by Kringkarn Jaroenkul. Professor Sanan Thamthi, a noted Lanna writer and historian, served as a script advisor and also appeared in the film.Photo Credit: Film SpaceWhat makes this project unique is not only the collaboration of seasoned filmmakers, scholars, and Lanna cultural experts, but also the involvement of youth from Chiang Mai. Many of these young participants had no prior film production experience but joined the project through the Film Lab initiative. Film Lab is a program that helps nurture the filmmaking talents of youth in Northern Thailand, offering hands-on experience and mentorship with professionals.A Conversation with Kringkarn JaroenkulThe project’s producer, Kringkarn Jaroenkul, shared insights into the Film Lab program, which is now in its second year in collaboration with CEA Chiang Mai. The program was designed to provide youth from Northern Thailand, interested in the film industry, with the opportunity to learn filmmaking from professionals. This year, the program invited youth to directly participate in the creation of a film, understanding every step of the production process.Photo Credit: Film SpaceOut of nearly 100 applicants, 15 youth were selected based on their interest in specific film production roles, attitudes, and availability. These participants received hands-on training and joined the film shoot in August. Kringkarn expressed joy over the enthusiasm of the youth, noting that many of them stayed longer than required, demonstrating their genuine desire to be part of the filmmaking process.Photo Credit: Film SpaceYouth Participants Share Their Experiences.Tee-Teerapong Wang-Ngon, a student from the Faculty of Fine Arts and Architecture at Lanna Rajabhat University, served as an assistant camera operator. He expressed how working on a film set was not just about technical skills but also teamwork and problem-solving under pressure. This experience was new and exciting for him.Grace-Preeyaporn Chukiatngam, a student from San Sai Witthayakhom School, worked as a “Continuer,” ensuring the continuity of the film. She was surprised to discover how many roles contribute to a film’s success and felt proud of the crucial part she played.Kaojao-Thipwimon Suwannakorns, worked in the Costume and Makeup department, where she learned how all aspects of production—from lighting and atmosphere to acting and costumes—must align to tell a cohesive story.Kringkarn reflected on the significance of this project, emphasizing that while directors, cinematographers, and screenwriters often get the spotlight in filmmaking, every crew member’s role is equally essential. This program aimed to show the youth that a career in film doesn’t just mean becoming a director. There are many other critical roles, such as location scouts, assistant directors, and continuity workers, that are just as valuable.Through this initiative, Kringkarn hopes the youth will gain an appreciation for teamwork and recognize the potential to turn their skills into a future career in the film industry. The project also aims to spark individual interests and passions among the youth, inspiring them to pursue specific aspects of filmmaking.“Wankerd” will be screening again at the Chiang Mai Design Week 2024! You can catch this heartfelt short film on Sunday, December 15, 2024, at the Auditorium, 1st Floor, TCDC Chiang Mai from 12:00 PM to 10:00 PM.
30 Nov 2024
Creative District : A Space for All
Upper Floor Project and Green Garden Let’s start off with Chiang Mai, the hub of creative economy and industry of the Northern region. Despite its central status, the city is also facing several urban development issues, such as gentrification, the lack of green areas, and a myriad of economic problems. This year, CEA Chiang Mai collaborates with local networks to drive various projects in the old commercial district of ‘Chang Moi – Ratchawong’. Among these is the Upper Floor Project, which is a continuation from last year’s Chiang Mai Design Week, with the goal to encourage residents in the neighborhood to explore prospects to create new business venues on the upper floors of their commercial buildings. It also explores the need to come up with new forms of creative enterprises housed in the vertical spaces, as well as in overlooked vacancies around the district. While the previous year’s project took place in Mantana Building, the sites of the Upper Floor Project 2 are ‘a two-story house on Chang Moi Khao Road’ and ‘The Goodcery Chiang Mai’ on Ratchawong Road, with four creative entrepreneurs employing the two venues as their site of exhibition. The Basement Performance Arts Group and Longgoy Studio clothing brand will be occupying the space of the two-story house, whereas the 888 Studio Residency, a collective of resident artists, and Thee clothing brand will take up the second floor of The Goodcery Chiang Mai, each turning the original space into their performance studio, art gallery, and showroom respectively. In addition, all four creative entrepreneurs have arranged workshops for locals of all ages to generate new skills and opportunities for people in the neighborhood, so that they better understand and help contribute to the foundation of a creative economic district.Apart from creating economic spaces to boost investment, Chang Moi-Ratchwong district is also home to Green Garden, a project aiming to increase green areas in the city’s old commercial district. This includes dedicating space for vegetable plots, vertical gardens, and aesthetic improvement of the sidewalks to increase walkability and add to the general atmosphere of the street.
17 Oct 2024
Creativity as the Key to Reviving Thailand’s Economy
แม้จะผ่านไปเพียงครึ่งปี หากกล่าวได้ว่าปี 2567 ถือเป็นปีที่สำนักงานส่งเสริมเศรษฐกิจสร้างสรรค์ (CEA) มีความเคลื่อนไหวในท้องถิ่นอย่างน่าตื่นตาตื่นใจเป็นพิเศษ เพราะไม่เพียงการประกาศความร่วมมือกับหน่วยงานท้องถิ่นในการเปิดศูนย์สร้างสรรค์งานออกแบบแห่งใหม่ หรือ New TCDC เพิ่มอีกถึง 10 จังหวัดทั่วประเทศ CEA ยังมีส่วนสนับสนุนให้เกิดเทศกาลสร้างสรรค์จากเหนือจรดใต้ ทั้งในเชียงราย ขอนแก่น และสงขลา รวมถึงเพิ่งประกาศธีมหลักสำหรับเทศกาลงานออกแบบเชียงใหม่ 2567 (Chiang Mai Design Week 2024) ที่จะจัดที่เชียงใหม่เดือนธันวาคมนี้ตั้งแต่เนิ่น ๆ เท่านั้นยังไม่พอ CEA ยังได้จับมือกับเครือข่ายนักสร้างสรรค์ท้องถิ่น ร่วมกันจัดกิจกรรมขับเคลื่อนเมืองผ่านเครื่องมือ ‘ย่านสร้างสรรค์’ ในโครงการ ‘เครือข่ายย่านเศรษฐกิจสร้างสรรค์ประเทศไทย’ (Thailand Creative District Network : TCDN) ซึ่งเริ่มขับเคลื่อนใน 5 จังหวัดในภาคเหนือ (เชียงราย ลำพูน ลำปาง น่าน และพิษณุโลก) ไปแล้ว “หนึ่งในภารกิจหลักของ CEA คือการกระจายองค์ความรู้ด้านเศรษฐกิจสร้างสรรค์สู่ส่วนภูมิภาค เราตั้งใจจะสร้างระบบนิเวศสร้างสรรค์ที่ครอบคลุมทั่วประเทศ ด้วยเหตุนี้ ควบคู่ไปกับการจัดตั้งแพลตฟอร์มสำหรับท้องถิ่น กิจกรรมอันหลากหลายที่ใช้กระตุ้นองค์ความรู้ในแต่ละจังหวัดจึงต้องเกิดขึ้นด้วย” พิชิต วีรังคบุตร รองผู้อำนวยการ CEA หนึ่งในหัวเรือใหญ่ที่อยู่เบื้องหลังการขับเคลื่อนที่ว่า กล่าวSCALING LOCAL: Creativity, Technology and Sustainability เทศกาลงานออกแบบเชียงใหม่ 2567 (Chiang Mai Design Week 2024) ที่เพิ่งประกาศธีมในการจัดงานในชื่อ SCALING LOCAL : Creativity, Technology and Sustainability พร้อมรายชื่อของเหล่านักสร้างสรรค์ที่เข้าร่วมเทศกาลในวันที่ 7 – 15 ธันวาคม 2567 นี้ไป ในฐานะที่พิชิตคือหนึ่งในกรรมการคัดสรร และผู้ร่วมร่างแนวคิดหลักของเทศกาลในปีนี้ เราจึงชวนเขาพูดคุยถึงแนวคิดเบื้องหลังและความคาดหวังที่จะได้เห็นเทศกาลใหญ่ในปลายปีนี้ “ตามชื่อของธีมเลยครับ SCALING LOCAL คือแนวคิดที่เราอยากเทียบสเกลของอุตสาหกรรมสร้างสรรค์ท้องถิ่นในภาคเหนือกับความเป็นสากล ซึ่งที่ผ่านมา เราพบว่ามีผลงานของนักออกแบบและผู้ประกอบการสร้างสรรค์ในภาคเหนือไม่ใช่น้อยที่มีมาตรฐานในระดับสากล เช่นเดียวกับการเห็นแนวโน้มศักยภาพของนักสร้างสรรค์รุ่นใหม่ ๆ ที่สามารถไปถึงตลาดต่างประเทศได้ “ส่วนคำว่า Creativity, Technology และ Sustainability ผมมองว่ามันเป็นองค์ประกอบของการขับเคลื่อนอุตสาหกรรมสร้างสรรค์อยู่แล้ว โดยตลอด 10 ปีที่ผ่านมา เชียงใหม่ดีไซน์วีกก็ได้ใช้องค์ประกอบนี้ในการจัดงานมาตลอด เพียงแต่ครั้งนี้ เรานำ 3 คำนี้มาไฮไลท์ให้เด่นชัดขึ้น ยิ่งเมื่อพิจารณากับบริบทของยุคสมัยปัจจุบัน ซึ่งเราจะยึดโยงอยู่กับความคิดสร้างสรรค์ (Creativity) หรือต้นทุนของความเป็นเมืองหัตถกรรมของภาคเหนืออย่างเดียวไม่ได้แล้ว แต่จำเป็นต้องอาศัยเทคโนโลยี (Technology) เพื่อเพิ่มประสิทธิภาพและมูลค่า รวมถึงการตั้งคำถามว่าจะทำอย่างไรให้ผลงานสร้างสรรค์ที่ผสานกับเทคโนโลยีแล้วให้มีความยั่งยืน (Sustainability) ทั้งในบริบทของสิ่งแวดล้อม และโมเดลของการทำธุรกิจ” พิชิต เล่า “ในอีกแง่มุม ผมมองว่า Scaling Local มันคือการทำห้องทดลองด้านความคิดสร้างสรรค์ด้วย เพราะอันที่จริง การคัดสรรผลงานมาจัดแสดงในเทศกาลฯ เราไม่ได้มองว่าผลงานทั้งหมดคือผลสำเร็จของนักออกแบบหรือผู้ประกอบการ แต่เป็นการทำให้ผู้ชมได้เห็นกระบวนการสร้างสรรค์ระหว่างทางที่ชวนให้ทุกคนนำไปคิดต่อยอดหรือเป็นแรงบันดาลใจ บางผลงานที่ได้จัดแสดงอาจอยู่ในขั้นตอนของการพัฒนา เราก็อาจช่วยเขาคิดต่อ รวมถึงการได้จัดแสดงในเทศกาลฯ ผ่านสายตาของผู้ชมที่หลากหลาย เหล่านี้มันมีผลต่อการยกระดับงานออกแบบของผู้เข้าร่วมงานอย่างเห็นได้ชัด “ซึ่งสิ่งนี้แหละคือหัวใจสำคัญ เราไม่ได้จัดดีไซน์วีกขึ้นมาเพื่อเฉลิมฉลองความสวยงามของเมือง หรือแค่ทำนิทรรศการเท่ ๆ หรือวางประติมากรรมสวย ๆ ไว้ตามจุดต่าง แต่มันเป็นการทดลองความคิดสร้างสรรค์หรือความเป็นไปได้ใหม่ ๆ ของผู้ที่มาร่วมแสดงงาน อย่างที่คุยเมื่อกี้ เครื่องยนต์อะไรที่มันทำงานอยู่แล้วในเมือง ก็ให้ทำงานต่อไปเถอะ หน้าที่ของเทศกาลฯ คือการเชื่อมหรือสร้างให้เกิดเครื่องยนต์ใหม่ ๆ ให้มาช่วยขับเคลื่อนเมือง “อย่าลืมว่าเทศกาลมันมีแค่ 9 วัน สิ่งสำคัญคือหลังจากนั้นต่างหากว่ามันจะไปตั้งคำถามหรือเปิดประเด็นอะไรต่อให้กับเศรษฐกิจสร้างสรรค์ของเมือง แต่ระหว่าง 9 วันนั้น เราก็จำเป็นต้องเปิดศักยภาพของเมืองให้เต็มที่ ให้เห็นว่าย่านไหน ซอยไหน หรือพื้นที่ไหนมันสามารถไปต่อยอดเศรษฐกิจของเมืองได้ “ยกตัวอย่างนิทรรศการ Upper Floor ปีที่แล้ว ที่ช่วยจุดประกายการรับรู้การใช้พื้นที่ชั้นบนของอาคารพาณิชย์ในย่านการค้า ซึ่งมันอาจมารับมือความท้าทายเรื่องค่าเช่าที่นับวันจะสูงขึ้นทุกทีในย่านการค้าซึ่งเป็นแบบนี้เหมือนกันทั่วโลก เพราะความสำคัญของเทศกาลคือเรื่องนี้ การสำรวจศักยภาพของท้องถิ่น หาความเป็นไปได้ใหม่ ๆ และหาวิธีหนุนเสริมด้วยปัจจัยต่าง ๆ ให้ความเป็นไปได้นั้นสามารถแก้ปัญหาของเมือง หรือทำให้ผู้คนในเมืองนั้นมีคุณภาพชีวิตที่ดีขึ้น มันจึงต้องดูทำกันต่อไป และคิดกับมันต่อไป” พิชิต กล่าวทิ้งท้าย
12 Oct 2024
Strumming a New Economic Beat
Strumming a New Economic Beat: Insights from Suphicha Teddaroon on Chiang Mai’s Music SceneFor many decades, the indie music scene in Chiang Mai has seen significant activity, much of which has been driven by a man with long hair working behind the scenes—‘Cha’ Supicha Teddaroon, also known by many as ‘Cha Harmo,’ a nickname derived from his former band Harmonica Sunrise.Cha, a music enthusiast from Nakhon Sawan, moved to Chiang Mai to study engineering at Chiang Mai University. He formed a band with friends, producing music under Harmonica Sunrise, Suthep Band, and as a solo artist under the name ChaHarmo. Besides creating his own work, Cha has also been instrumental in organizing various music events in the province. His latest endeavor, under the name Chiang Mai Original, supports local Chiang Mai bands in getting their music known to the public.Having been immersed in the music industry for years and traveling to participate in music events abroad, Cha noticed how other countries use music to drive their local economy. This inspired him to bring a similar concept back to Chiang Mai. His goal was to make music a part of the province’s economic engine, leading to the creation of the High Ho Chiang Mai event. The event, first held from September 15 to October 30, 2024, aims to boost Chiang Mai’s economy during the low tourist season by featuring local bands performing across various locations around the city, encouraging visitors to explore the region and enjoy live music.“The idea for the High Ho Chiang Mai festival came from our desire to create music events purely for the sake of music. For a long time, Chiang Mai has had a lot of local bands, but for them to gain recognition, they often have to move to Bangkok. However, many musicians still want to stay in their hometown. We saw a growing number of new bands forming here, so we wanted to find a way to help them stay and thrive. That’s how Chiang Mai Original was founded,” Cha said.Chiang Mai Original focuses on supporting the sustainability of the local music business by promoting and showcasing the work of Chiang Mai-based musicians. It acts as a mediator, helping to organize events where these artists can perform their original work, such as Chiang Mai Secret at One Nimman, where Cha has been involved, or the Chiang Mai Ho! Fest, a four-year-old music festival featuring numerous local bands. Additionally, Cha participated in the 2024 Gwangju Busking World Cup Festival in South Korea, which uses music to drive the local economy and promote the city’s image.Inspired by the benefits of the busking festivals he observed, Cha collaborated with the CEA Chiang Mai (Creative Economy Agency) to create the Chiang Mai Busking Festival. This event showcases musicians performing in various districts of Chiang Mai, encouraging tourism while providing performance opportunities for local artists.In addition to organizing events, Cha and fellow musicians recently formed the Chiang Mai Music Network, which brings together all sectors of the Chiang Mai music industry. Monthly meetings are held to discuss the current challenges facing the local music scene, including artists’ livelihoods, the quality of their work, and venue availability. As the music industry strengthens, the goal is to further use music to drive the city’s economy.The Chiang Mai Music Network has also begun compiling crucial data on the local music scene, creating a database where musicians can register and event organizers can view artists’ information through the Chiang Mai Original website.“During the rainy season, which is the low season for Chiang Mai, we saw that the city’s economy was sluggish, and fewer tourists were spending money. This directly affects the local music scene, as there are fewer opportunities for musicians to perform and earn a living. We came up with the idea to use a music festival to draw people to Chiang Mai during this season, and that’s how High Ho Chiang Mai came to be.“For a full month, High Ho Chiang Mai will feature music performances across different venues in the city. The aim is to use music to light up various areas of Chiang Mai, encouraging people to visit new places while helping the local economy. At the same time, local musicians will have more opportunities to perform during the rainy season.“Music is an integral part of Chiang Mai’s culture, and the city is known for producing many talented musicians, both in the past and present. It can be a key selling point for the province. If we strengthen Chiang Mai’s music scene, with locals organizing their own festivals, I believe that music can attract more visitors to the city. We’ve seen many examples of this abroad, and I believe that Chiang Mai has the potential to achieve this too. I dream of seeing that here,” Cha concluded.For those interested in following Chiang Mai Original’s news, visit their Facebook page at Chiang Mai Original or Chiang Mai Original’s website. If you’d like to join the High Ho Chiang Mai music festival this rainy season, find more details at High Ho Fest linktree.
12 Oct 2024
Exhibitors seminar at Chiang Mai Design Week 2024: Inspiring Designers
Exhibitors Seminar at Chiang Mai Design Week 2024: Inspiring DesignersOn September 28th, the Creative Economy Agency (Public Organization), Chiang Mai, hosted a special seminar for exhibitors participating in Chiang Mai Design Week 2024. The event was filled with engaging activities, including a special lecture on “Unlocking Creative Power: In-Depth Legal Knowledge for Designers by the EasyLaw Team,” which was highly beneficial for designers aiming to develop their work to be recognized globally.Additionally, there was a special talk titled “Exhibition Tips and Tricks by Mr. Amornthep Katchanon, Founder of A.M.O Intergroup,” which helped designers showcase their work in a prominent and captivating way.Chiang Mai Design Week 2024: Celebrating Local Creative PowerGet ready for Chiang Mai Design Week 2024, under the theme “SCALING LOCAL: Creativity, Technology, and Sustainability,” scheduled for December 7-15, 2024, at the TCDC building and various locations throughout Chiang Mai. Come and experience extraordinary creative works by designers, artists, and local communities. The event will feature a wide range of activities, including exhibitions, workshops, performances, music, art, and the POP Market.For more information: Website: https://www.chiangmaidesignweek.comFacebook: Chiang Mai Design Week#ChiangMaiDesignWeek2024 #CMDW2024 #ScalingLocal
04 Oct 2024
Sima: The Sour Sense of Sustainability
Sima is a small fruit that grows in clusters, offering a unique sour taste. This perennial plant thrives on high hills and holds cultural significance for the Akha people. Ma Peng – Phongsila Commak, the founder of the Sansaicisco Project and a member of the Slow Food Network, discovered Sima during a visit to his friend, Lee Ayu Chuepa, owner of the renowned coffee brand Akha Ama. This encounter unveiled new potential for this high-altitude fruit.Ma Peng learned from his South American friends in the Slow Food network about a movement to reclaim rivers in South America. This was driven by the massive cultivation of avocados to meet global demand. Given that avocados require significantly more water than lemons or corn, this trend has led to serious environmental issues, particularly affecting nearby rivers. Concerned that Thailand, where avocado cultivation was starting to gain momentum, might face similar challenges, Ma Peng sought environmentally friendly alternatives that could also benefit local farmers, which led him to Sima.Sima is a native plant of the Akha people, thriving easily in their high-altitude villages. Every Akha household has Sima trees interspersed among their crops, and these perennial trees can be harvested without being cut down. The Akha culture is deeply intertwined with Sima, which plays a vital role in various traditions.“When Akha couples build their homes, they must first plant a Sima tree. If the tree thrives, they can proceed with building their home. This is significant because when they have children, they boil Sima leaves and bathe the child in Sima water, marking them as true Akha. In the past, if someone fell ill, it was believed that brushing Sima branches over the sick person would chase away illness. Beyond its cultural significance, Sima is also used in traditional Akha cooking, such as being fermented with fish before grilling in banana leaves,” explained Ma Peng.The longstanding relationship between the Akha and Sima has led to the development of expertise in cultivating and managing the plant. Since every household grows Sima, it can be easily harvested and dried under their homes, ensuring it lasts much longer than other crops. This durability allows the Akha to avoid the disadvantages of perishability when negotiating with middlemen. Recognizing Sima’s potential, Ma Peng has dedicated the past two years to promoting it as a valuable ingredient.Ma Peng began by organizing activities to invite city dwellers to learn about Sima directly from Akha experts. He also collaborated with chefs to experiment with Sima in various dishes to explore its culinary potential. Later, he worked with Asst.Prof. Aussama Soontrunnarudrungsri, the sensory analysis of food and non-food products from the Faculty of Agro-Industry, Kasetsart University to analyze Sima’s components, discovering its unique sourness and identifying optimal culinary uses. This information was compiled into a guidebook to assist chefs and food enthusiasts in integrating Sima into their recipes.With support from the Creative Economy Agency (CEA), Ma Peng has been advocating for Sima to become a recognized local ingredient that contributes to Chiang Mai’s economy. This initiative culminated in an event during Chiang Mai Design Week 2023, where various food businesses showcased Sima in their creations.For instance, Madae Slow Fish, a restaurant supporting local fishermen, used Sima mixed with salt to coat fish while grilling. Helo Cola, a craft cola maker, incorporated Sima as a key ingredient, giving their cola a distinctive Northern Thai flavor. Adirak Pizza experimented with Sima in a dish featuring fresh cheese, while Noir, a jazz bar, crafted mocktails and cocktails using Sima. Bar.san infused Sima with soda in their highball cocktail, creating a drink with a unique aroma.Following these experiments, a meeting was held at TCDC Chiang Mai to discuss the possibilities and challenges of using Sima as an ingredient. There was unanimous agreement on its potential value, not only as a unique local ingredient but also as a means to support the environment and the Akha community.Ma Peng plans to consult economists to assess the ideal pricing for Sima, ensuring it remains accessible to the general public and not just confined to high-end restaurants. His vision is for Sima to become a staple ingredient in every household, benefiting both consumers and the Akha community.“I dream of Sima becoming a common kitchen ingredient that anyone can use. It’s a local product that directly benefits the villagers. My goal is to promote it without personally selling it. If someone is interested, I will simply direct them to where they can buy it from the Akha community, benefiting them directly. I want to see local plants gain economic value. If we support ten types of local plants, villagers could earn a stable income without having to uproot their original crops to grow new ones, which could harm the environment, especially in watershed areas. Moreover, if a plant is part of their culture, they will take pride in their identity when others recognize the value of what they have. I believe Sima can achieve that,” Ma Peng concluded.
01 Oct 2024
Residency Program: Overseas Creators Collaboration
Residency Program: Overseas Creators CollaborationWhen Homecoming Creators Join Hands with Foreign Artists in Making Pottery Inspired by ‘Rice’ The Homecoming Creators and Overseas Creators Collaboration in Residency Program is a joint effort launched by CEA Chiang Mai, Japan Foundation, and Taiwan Designers’ Web with the goal to develop and connect networks of local creators on an international scale. During the program, Japanese and Taiwanese ceramicists have been invited to live in Chiang Mai to learn the local ways of life and come up with collaborative projects with local studios in town. Throughout the period of one month (between August and September of 2024), exhibitions have been held to showcase the results of the mutual learning process under the theme of ‘Start from the Rice’Jirawong Wongtra-ngan and Muneaki IwashitaThe overseas creators participating in the program are Muneaki Iwashita, a ceramic artist and the sixth-generation successor of Iwashita Pottery based in Mashiko, Japan, and Lydia (Chia, Hsun-Ning), a ceramic artist and the manager of Nie Studio in Taipei, Taiwan, with each of them residing at In-Clay Pottery Studio, run by Chi-Jiraong Wongtra-ngan, and Charm Learn Studio, owned by Mick-Nattapol Wannaphorn, respectively.Chia, Hsun-Ning and Nattapol WannaphornAlong with the exchanges of ideas, skills, and experience between Japanese, Taiwanese, and Thai creators, Mick and Chi also stepped up as guides, taking the guest artists on a tour of creative districts and leading ceramic production sites in the Northern Region. They made a visit to such destinations as Chiang Mai Arts and Cultural Centre and Lanna Folklife Museum in the Old Town area to learn more about the city’s history and traditional ways of life, Muang Kung Village, an historical ceramic manufacturing site of the north, and notable ceramic manufacturers like Dhanabodee ceramic factory in Lampang and Earth & Fire Studio in Chiang Mai, as well as several other artist studios across the city.Moreover, during the residency program, the four ceramic artists were given the assignment of making a new set of pottery under the theme of ‘Start from the Rice,’ the results of which were put on display at Anantara Chiang Mai Resort on 8 September 2024.Starting off Muneaki, who was inspired by ‘hor tong’ (banana leaf wrapper), a traditional way of packing sticky rice and other food in the north. Founding his work on this idea, he finished the piece with sculptures of an elephant, the symbol of Chiang Mai city, and tapir, an animal believed by the Japanese to be the eater of nightmares. Back in his hometown, Muneaki has also been working on a series of ceramic works inspired by tapir for Iwashita Pottery.“I saw a banana leaf wrapper for the first time when I came to Thailand. It serves both as an amazing food container and package. I’m impressed with its simple functions and the genius of the locals in employing natural material as a sustainable container. So, I adopted the idea in making the pottery, maintaining the original function as a food container. At the same time, I want to make it a kind of souvenir and decorative piece, so I insert the symbol of Chiang Mai and that of my hometown into the work, which helps reduce the density and heftiness of the main piece,” said Muneaki.Meanwhile, Chi-Jirawong, the host who opened up his In-Clay Studio for Muneaki’s residency, chose to present his set of ceramic works under the concept of Rice Grains: Farming, Cooking, and Forming, focusing on the traditional ways of rice cultivation, the custom of preparing a meal with several kinds of food, and the difference in the shape of each rice grain and germ. The products are made into bowls in the form of cross-sectioned rice grains in various sizes, with the surface glazed into the milky white color similar to the actual rice.“I’m interested in the process of Long Khaek, or the labor exchange in rice cultivation. It reflects the harmony and bonds among farmers. So, apart from replicating the shape of rice grains, I chose to make food containers of several shapes to simultaneously reflect the Thai custom of sharing a meal together,” stated Chi.Impressed by her encounter with plastic baskets holding khanom jeen (rice noodle) at Warorot Market, Lydia, a Taiwanese artist staying at Charm Learn Studio, developed a shape of her work utilizing the technique of ceramic weaving, not unlike what she has achieved in her famous project titled Fiber Ceramic, where she incorporated ropes into the process of making pottery. In addition, Lydia also came up with a series of ceramic sculptures, in which she experimented in using rice grains as one of the materials in different ways, such as blending rice grains with clay before shaping and baking, decorating the surface of the works with rice, and producing layered effect on the sculptures with rice.“Having lived in Chiang Mai for almost a month, I’m impressed with the charm borne of diverse cultures of people here, as well as the marriage between the old and the new, which can be found in creative spaces throughout the city. And as I’m interested in experimenting to look for new possibilities in combining materials, working here has been especially enjoyable for me,” said Lydia.Last but not least we have Mick of Charm Learn Studio who was inspired by the Northern custom (and also one shared across ASEAN region) of eating sticky rice with hands. Merging this with a fun gimmick of integrating fingernail brass accessories worn by Northern traditional dancers into his work, Mick produced a series of ceramic called ‘Len-Gin-Tae’ (Journey with Sticky Rice), where he presented a set of food containers into which users need to put their fingers.“In fact, my studio is located beside rice fields, but the chance to go back and investigate the way of life and arts and culture community in my hometown Chiang Mai throughout the course of one month has enabled me to see our culinary culture, especially sticky rice in Chiang Mai, in a new light. So, I want to apply the customary way of preparing a local meal into the making of these imaginary bowls,” stated Mick, who has made a name for himself as a designer who takes his inspiration in creating contemporary ceramic works from the Thai traditional lifestyles.These are some of the outcomes made by the four creators from the three countries who joined in the CEA’s Homecoming Creators and Overseas Creators Collaboration in Residency Program. Not only will the artists expand the products from this program into merchandises for sale later (they will also be featured in the exhibition during the 2024 Chiang Mai Design Week in this December), the exchange of ideas and experience throughout the course of a month program will also ignite their passion for the projects to come.What’s undeniably important is this program reveals new possibilities in cross-cultural exchanges, offering opportunities for local creators to shine in international markets in the future.Not only have Chi and Mick been such incredible hosts, recently some works by In-Clay Studio and Charm Learn Studio have been selected by MUJI Thailand to be developed as merchandise under the Found MUJI Thailand project. The products are scheduled to be put on sale in MUJI branches at One Siam, Bangkok, and MUJI Flagship Store at Central Chiang Mai Airport, Chiang Mai, this coming November.
20 Sep 2024