哪里需要我們我們就在哪里出現(xiàn)
——專訪澳門基金會行政委員會主席吳志良

文本刊記者 張亞萌 何瑞涓 ZHANG Yameng HE Ruijuan

澳門藝術(shù)傳承與發(fā)揚的重任，落在富有創(chuàng)意的人肩上

記者（以下簡稱“記”）：澳門基金會的藝術(shù)家推廣計劃和“澳門制作 本土情懷”——澳門基金會市民專場演出項目已經(jīng)進行了多年，貴會設(shè)立這兩個項目的初衷是什么？

吳志良（以下簡稱“吳”）：一個城市需要靈性。近30年來，澳門藝術(shù)創(chuàng)作積累了相當(dāng)多的成果。上世紀(jì)80年代中期崛起的一批優(yōu)秀藝術(shù)家，經(jīng)過30多年的探索，如今已成為澳門藝壇的中堅力量，引領(lǐng)時風(fēng)。這一群體人生歷練豐富、藝術(shù)造詣日臻完善，所投射下的物化形象有著迷人的魅力。另一方面，近十年來，隨著高等教育的普及，本地的美術(shù)創(chuàng)作逐漸走向?qū)I(yè)化和多元化，新人輩出，又帶來新的藝術(shù)思潮、新的創(chuàng)作技巧、新的視覺元素和新的欣賞方式。然而，由于缺乏系統(tǒng)的推介，澳門藝術(shù)家總體形象尚不夠鮮明，其在城市文化藝術(shù)發(fā)展中的貢獻也未受到足夠的關(guān)注和頌揚。澳門基金會致力推動澳門本地文化藝術(shù)活動，為藝術(shù)家提升藝術(shù)素質(zhì)創(chuàng)造交流平臺，為此，我們推出“澳門藝術(shù)家推廣計劃”，邀請澳門資深及青年藝術(shù)家參與此項目，以藝術(shù)家造詣、作品質(zhì)量等因素來考慮邀請對象，旨在為默默耕耘的澳門藝術(shù)家們塑造一組栩栩如生的群像。

“澳門制作 本土情懷”——澳門基金會市民專場演出的“澳門制作”是指本地、本地與外地團體聯(lián)合舉辦的演出，堅持從市民中來、到市民中去，得到市民的支持和欣賞；“本土情懷”則要抒發(fā)澳門人的家國情懷，謳歌我們這個中西文化交匯城市的迷人風(fēng)韻，歌頌中華文化的博大精深，并以此向世人展示我們高度的人文關(guān)懷，展示澳門引人入勝的人文風(fēng)景線。

記：在您看來，這些項目對于澳門的文藝建設(shè)有哪些積極意義？

吳：澳門市民希望視覺藝術(shù)和舞臺藝術(shù)的創(chuàng)作者和社團能夠提供更高品質(zhì)的公共文化產(chǎn)品。截至2017年底，“藝推”已經(jīng)完成了71位藝術(shù)家的展覽和推廣，我們希望系統(tǒng)地為澳門藝術(shù)家舉辦展覽、出版圖錄，整體建立澳門藝術(shù)家的群像；同時希望他們不斷創(chuàng)作，在藝術(shù)創(chuàng)作上不斷完善。“藝推”計劃的實施，能夠活躍澳門藝術(shù)創(chuàng)作氣氛，檢視目前的美術(shù)創(chuàng)作水平，深化藝術(shù)教育，塑造文化城市形象，張揚城市的文化性格，并在喚起廣大市民對文化創(chuàng)意產(chǎn)業(yè)的重視與支持方面起到積極的作用。

“市民專場演出”的原意，便是基金會搭臺、社團演戲，展現(xiàn)本土演藝團體的群體形象，放大社團活動在社區(qū)里的功能，彰顯文化在市民生活中的地位，最終達到傳承文化、延續(xù)文脈、凝聚人心、增強歸屬感的目的。每年“市民專場演出”的申請項目數(shù)以百計，但水平參差不齊，我們希望每年通過專業(yè)的評審，挑選出十余場演出給予更多的支持和更充分的資源，推動文藝項目走向?qū)I(yè)化?！笆忻駥鲅莩觥背酥С?、鼓勵推動本地文藝團體制作更好更精彩的節(jié)目外，還提供更多演出機會讓本地青年藝術(shù)表演者發(fā)揮所長，提升演藝水平；更為重要的是，促使他們深入社區(qū)，充分利用社區(qū)文化設(shè)施，走近市民，加強演藝團體與市民之間的互動，讓市民欣賞高水準(zhǔn)的本地藝術(shù)表演，提高市民對表演藝術(shù)的興趣和欣賞水平，豐富社區(qū)文化生活，活躍社區(qū)文化氛圍，塑造動感城市的形象。

在推動這兩個項目的同時，我們也沒有減少對其他沒有納入項目的藝術(shù)作品與演出的支持：我們每年支持的視覺藝術(shù)展覽數(shù)量基本在“藝推”項目的十倍以上；每年還做8至10個藝術(shù)交流項目，把外地的藝術(shù)家邀請到澳門做展覽，同時促使澳門藝術(shù)家走出去，比如與中國文聯(lián)合作的、2016年在寧夏、2017年在湖南的交流項目。演出項目也是一樣，促使更多的藝術(shù)家進行更多的演出，比如粵曲演出每年就有200多場，也邀請外地的藝術(shù)團體來澳門演出。

記：基金會的項目更多針對澳門本地的藝術(shù)家和藝術(shù)社團，有沒有考慮更多地納入內(nèi)地或者國際上的一些藝術(shù)項目？

吳：目前這一類項目還不太多。具體原因是澳門具有競爭優(yōu)勢的項目并不多，專職的藝術(shù)家、文學(xué)家不多，大都是業(yè)余創(chuàng)作，因而交流呈現(xiàn)不對等的樣態(tài)。澳門很小，我們能派出的團體不多，但想來澳門展覽、表演的藝術(shù)家和團體很多，這是個客觀存在的現(xiàn)象。但我們鼓勵不同地域的藝術(shù)家和藝術(shù)團體之間的交流，比如我們與中國文聯(lián)合作，每年聯(lián)系一個省，做一次合作的展覽，期待互相學(xué)習(xí)，達成更加充分地交流。10多年來，我們每年邀請中國京劇藝術(shù)基金會和中央芭蕾舞團來澳表演并走進校園，效果十分理想。

不參與受資助項目執(zhí)行，只評估結(jié)果和效益的合作關(guān)系

記：澳門本地有超過8000個社團，澳門基金會以什么樣的標(biāo)準(zhǔn)和原則選擇合作的社團？

吳：大的標(biāo)準(zhǔn)有三個：首先看項目，看看這個項目的社會效益與意義如何；第二，規(guī)模比較大、歷史比較悠久的社團自然比較容易入選，這就是看這個社團本身的項目執(zhí)行能力；第三就是看具體項目預(yù)算的合理性。

記：有些社團連續(xù)幾年都能夠獲得基金會的項目資助，有的社團可能還是頭一次或者還未獲得過資助，哪些類型的藝術(shù)團體更有利于入選？它們呈現(xiàn)出哪些特色？被基金會納入推介的藝術(shù)家又要達到怎樣的要求？

吳：很多小型社團在運行項目的時候會遇到很多困難——不僅是資金上的困難，在組織和執(zhí)行能力方面也會明顯力不從心。所以我們與社團合作時主要以項目為主導(dǎo)，就是希望澳門同類、同質(zhì)社團之間有協(xié)作，因為澳門的社團中成員交叉現(xiàn)象非常普遍。我們也從眾多的項目中擇優(yōu)選擇；總體來說，得到支持的社團數(shù)量遠遠超過未得到支持的社團數(shù)量。到目前為止，基金會還是以團結(jié)凝聚藝術(shù)家為中心目標(biāo)，專業(yè)的要求并沒有擺在首位。這是我們一直在考慮的方向：未來將推動文藝社團走向?qū)I(yè)化的發(fā)展方向。

記：您曾說，不希望基金會與社團的關(guān)系只是一個“施”與“受”的關(guān)系：不僅僅是基金會提供資金、社團負責(zé)做事，而是希望通過社團培養(yǎng)更多人才，希望社團活動使更多市民受惠。目前的資助模式具體是怎樣的，有無擺脫施受關(guān)系？

吳：澳門基金會的主要工作方法和思路一直就是“拾遺補缺”——哪里需要我們，我們就在哪里出現(xiàn)?；饡c社團的關(guān)系是合作關(guān)系，也不會參與到受資助項目執(zhí)行的過程中，我們只會最終評估它的結(jié)果和效益。但一些與我們合作關(guān)系密切或主動要求基金會提出意見的項目，我們樂意提供協(xié)助。

記：在您的觀察中，澳門文藝社團的創(chuàng)作項目還有哪些提升的空間和方向？

吳：澳門基金會每年資助大約2500多個項目，其中有一些現(xiàn)象需要我們引起重視。第一，每個社團成立的初衷是什么？有社團成立時間久了，就把最初成立社團的初衷忘記了，開展的項目與社團宗旨不相符，比如一個書畫家團體突然去開演唱會，唱粵曲的突然去辦展覽。這些年社團的發(fā)展開始出現(xiàn)一些無序的現(xiàn)象，我們沒有權(quán)力干預(yù)，但它們對澳門社會的整體進步的促進作用不是很大。我們鼓勵更多同類社團、不同社團能夠協(xié)調(diào)合作、集中資源，提升項目的規(guī)模、水平、質(zhì)量，為社會提供更多優(yōu)質(zhì)的公共產(chǎn)品。第二，項目的同質(zhì)化現(xiàn)象較為明顯，有些社團為了做項目而做項目，這是我們不希望看到的情況，因為基金會的錢是納稅人的錢，我們應(yīng)該把這筆錢用得更有社會效益，使更多市民可以受惠。因此，我們鼓勵社團多講實效、少講形式；鼓勵小眾劇目走向社區(qū)，提升社會居民的修養(yǎng)，活躍社會文化氣氛；通過項目培養(yǎng)人才，不僅包括藝術(shù)創(chuàng)作人才，還包括策劃和管理人才；同時培養(yǎng)觀眾，比如“澳門制作 本土情懷”——澳門基金會市民專場演出，就明確規(guī)定無論場地大小，都要保證七成的入座率，這是一個基本的要求。

形成更加廣泛的愛國愛澳力量

記：基金會近年來與中國文聯(lián)和內(nèi)地各文藝家團體開展了豐富的合作與交流。在您看來，這樣的交流呈現(xiàn)怎樣的特色？對今后的合作與交流，您又有怎樣的期許？

吳：澳門基金會在力所能及的領(lǐng)域里對藝術(shù)家、藝術(shù)團體的交流進行推動、組織和支持。推動和組織這兩種方式是我們主動完成的，比如我們與中國文聯(lián)合作的海峽兩岸暨港澳地區(qū)藝術(shù)論壇、與文化部合作的“藝海流金”等項目成果豐碩；但更多的是藝術(shù)家和團體自發(fā)進行交流合作，我們提供資金支持這樣的模式。中國文聯(lián)聚集了中國各地包括港澳臺地區(qū)的文藝界優(yōu)秀人才，長期以來關(guān)注支持澳門文化藝術(shù)的發(fā)展；我們希望能與中國文聯(lián)等單位，通過不同的交流形式，進行資源引導(dǎo)、填充空白領(lǐng)域，推動文藝向?qū)I(yè)化和國際化方向發(fā)展。

澳門基金會參與主辦的“水果FUN享日”啟動儀式Launching Ceremony of Fruit FUN Enjoyment Day hosted by Macao Foundation

“藝匠顯影”展覽開幕式后，澳門藝術(shù)家合影Group photo of artists from Macao after opening ceremony of Image of Artists Exhibition

“藝推”計劃中，澳門基金會行政委員會主席吳志良向藝術(shù)家頒發(fā)收藏證書WU Zhiliang, Chairman of Executive Committee of Macao Foundation presents complimentary collection certificate to artists in Macao Artists Promotion Program

“藝推”計劃中，澳門基金會行政委員會主席吳志良向攝影家郭向新頒發(fā)作品收藏證書WU Zhiliang, Chairman of Executive Committee of Macao Foundation presents works collection certificate to photographer GUO Xiangxin in Macao Artists Promotion Program

記：2018年澳門基金會的“藝推”與市民專場演出項目已啟動，今年這兩個項目會有怎樣的新面貌？

吳：在未來一兩年，我們將在專業(yè)方面有所提升，評審委員會的項目評審將會更加嚴(yán)格，會對創(chuàng)作提出更多的要求、更為細化。

記：接下來，澳門基金會在文藝扶持方面的新目標(biāo)是什么？

吳：我們希望通過不同類型的資助項目，促進文化藝術(shù)界的大團結(jié)、大和諧；這些年明顯能夠看到澳門的文化藝術(shù)在進步，專業(yè)水平不斷提高；更加重要的是，年輕的文化藝術(shù)人才不斷成長，隊伍不斷壯大，形成繁榮的局面。我們要在澳門推動愛國愛澳的教育，形成更加廣泛的愛國愛澳的力量，當(dāng)然更需要文化藝術(shù)界的大力協(xié)助。

Important task of inheritance and development of art in Macao falls on the shoulders of creative people.

Journalist (Hereinafter referred to as J): The MAPP and PMLS have been carried out for many years. What are your initial purposes of these two projects?

WU Zhiliang (Hereinafter referred to as WU): A city needs spirituality. In the past 30 years, Macao has accumulated considerable achievements in artistic creation. After nearly three decades of exploration, a group of outstanding artists emerged in the mid-1980s has now become the backbone of the art in Macao, leading the vogue. This group of people, with abundant life experience and improving artistic attainments, has fascinating charms through the materialized images. On the other hand, with the popularization of higher education in the past decade, local art creations have gradually become more specialized and pluralistic,with continuous emergence of newcomers, bringing brandnew artistic trends, creative techniques, visual elements and appreciation manner.However, due to the lack of systematic promotion, the overall image of Macao artists is not yet clear enough, and its contribution to the development of urban culture and the arts has not received enough attention and commendation. The Macao Foundation is dedicated to promoting Macao's local arts and cultural activities and creating a platform for artists to enhance their artistic qualities. To this end, we have launched the MAPP and invited senior and young artists from Macao to participate in the project. The consideration concerning invitation, based on the accomplishments of artists and the quality of their works,is committed to creating a vivid group of portraits for the quietly working Macao artists.

The Produced in Macao of PMLSrefers to performances of local organizations, and those of local and foreign groups,adhering to the essence of from the public and back to the public, receiving the public's support and appreciation;the Local Sentiment is to express the feelings of national identification of people in the city, praising the enchanting charms of our city gathering both the Chinese and Western cultures, the profound Chinese culturewhile showcase the world our high degree of humanistic concern and Macao's fascinating cultural landscape.

J: In your opinion, what is the positive significance of these projects for the cultural construction in Macao?

WU: The people of Macao hope that the creators and societies of visual arts and stage arts will provide public cultural products of higher quality. By the end of 2017, the MAPP has completed the exhibition and promotion of 71 artists. We hope to organize exhibitions for Macao artists,publish catalogs, and create a group portrait of Macao artists as a whole in a systematical manner, meanwhile, hoping that they will continue their creation with constant artistic improvement. The implementation of the MAPP will revitalize the atmosphere of artistic creation in Macao, examine the current level of art creation, deepen the arts education,shape the image of a cultural city, publicize the urban cultural character and play a positive role in arousing the public's attention and support to the cultural and creative industries.The original intention of PMLS is to display the group image of local performing arts troupes, amplify the functions of community activities and demonstrate the status of culture in the life of citizens via setting up the stage by the Foundation with community performance so as to eventually realize the target of inheritance of culture, continuation of context,union of people and enhancement of sense of belongings.Every year, there are hundreds of application projects for the PMLS, but of uneven levels. It is our hope that,through professional review and selection each year, more than ten performances will be selected with more support and resources to promote the art programs to further specialization. In addition to supporting and encouraging local arts and cultural troupes to produce better and more exciting programs, PMLS also provides more performing opportunities for local youth artists to take the lead in performing arts and enhancing their performing standards.More importantly, they are encouraged to get closer to the community and make full use of community cultural facilities with the purpose of approaching the public, enhancing the interaction between the performing arts groups and the public, enabling the public to enjoy a higher standard of local arts performances, raising their interest and appreciation for the performing arts, enrich theing cultural life of the community, creating an active community culture and building the image of a dynamic city.

While promoting these two projects, we also did not reduce the support for other works of art and performances not included in the project: the number of visual art exhibitions we support each year is basically over ten times that of the MAPP. We also conduct 8 to 10 art exchange programs each year by inviting foreign artists to make exhibitions in Macao and encouraging Macao artists to go out, for example, the cooperation with China Federation of Literary and Art Circles and the exchanging projects in Ningxia in 2016 and Hunan in 2017. It is the same for the performance projects, which encourage more artists to provide more performances. For example, more than 200 performances of Cantonese Opera are performed every year. Art groups from other places are also invited to perform in Macao.

J: As the foundation's projects are more directed at local artists and art associations in Macao, have you considered more art projects from the Mainland or other countries?

WU: There aren’t many projects of this type at present. The specific reason is that there are not many projects in Macao that have competitive advantages, but only a small number of full-time artists and writers, most of whom are amateurs.As a result, the exchanges have shown unequal status.There are not many groups that we can send out in Macao.However, there are many artists and organizations who want to come to Macao for exhibitions. This is an objective phenomenon. However, we encourage exchanges between artists and art organizations from different regions. For example, our cooperation with China's Federation of Literary and Art Circles, we contact a province every year and conduct a cooperative exhibition. We look forward to learning from each other and reaching more exchanges. For more than a decade, it has witnessed a very satisfactory result as we have invited the China Beijing Opera Arts Foundation and the National Ballet of China to come to Macao and perform in the campus each year.

No participation into the implementation of funded projects, only assess the results and eあectiveness of the partnership

J: There are more than 8000 local groups in Macao. What kind of standards and principles will the Macao Foundation choose to cooperate with?

WU: There are three major criteria: firstly, find out the social benefits and significance of this project; secondly, groups with relatively large scale and long history are naturally to be selected, in other words, its capacity of project execution is also important; thirdly, evaluate the rationality of the specific project budget.

J: Some groups have been able to obtain funding support from the Foundation for several years in a row. Some may have been funded for the first time or never. What types of arts groups are more likely to be selected? What are their characteristics? What are the requirements to be met by artists involved in the promotion by the Foundation?

WU: Many small groups encounter much difficulty when it comes to running projects - not only financially, but also obviously remains powerless to organize and implement.Therefore, when we work with art groups, it mainly focuses on project-led issues, we hope that there will be cooperation among similar and homogeneous groups in Macao because cross-cutting membership in Macao's groups is most common.

J: You once mentioned that you do not want the relationship between the Foundation and groups to be just "giving" and"accepting": it is not just for the Foundation to provide funds,and the groups to be responsible for implementation, but for training more talents through the group, hoping that the activities of the groups would benefit more citizens. What is the current funding model? is it getting out of the relationship abovementioned?

WU: Macao Foundation's main working methods and ideas have always been "make up for missing"--- we shall appear at any place in need of us. The relationship between the Foundation and groups is a partnership, which will not participate in the implementation of the funded projects. We will only evaluate its outcome and effectiveness. However,we are most willing to provide assistance to some of the projects that work closely with us or ask the Foundation to make suggestion.

J: In your observations, what are the room and orientation for the improvement in the creative projects of the Macao art groups?

WU: The Macao Foundation subsidizes about 2,500 projects each year, and some of these phenomena require our attention. Firstly, what is the original intention of each group? A society has been established for a long time, and the original intention of the establishment of the group has been forgotten, the project does not match the purpose of the group, for instance, a group of calligraphy and painting artists suddenly go to hold a concert, a group of Cantonese opera suddenly went to organize exhibitions. The development of these groups has begun to show some disorder in these years. We have no power to intervene. However, they do not contribute too much to the overall progress of Macao society. We encourage more similar groups and those of diversity to coordinate their efforts and concentrate their resources on enhancing the scale, level and quality of the projects so as to offer more high-quality public products to the community. Secondly, the homogenization of the project is more obvious.Some groups do projects just for the purpose of it. This is a situation that we do not want to see, because the fund of the Foundation is the taxpayer's money. We should spend the money with more social returns, so that more people can benefit from it. Therefore, we encourage groups to practice more effectively and focus less on formalities. In addition, we also encourage repertoire with minor reception to go to the community, enhance people’s self-cultivation and activate the social and cultural atmosphere. We should train qualified personnel through the project, including not only artistic creation talents, but also planning and management personnel. Meanwhile, nurturing audiences is also crucial, such as the PMLS,it clearly stipulates that 70% of the attendances should be guaranteed no matter the size of the venue. This is a basic requirement.

Form a more extensive power of patriotism of Macao and China

J: The Foundation has carried out abundant cooperation and exchanges with China Federation of Literary and Art Circles and various literary groups in the Mainland in recent years. In your opinion, what is the characteristic of such communication? What are your expectations for future cooperation and exchanges?

WU: The Macao Foundation promotes, organizes and supports the exchange of artists and arts groups in the best of its ability. The two means of promotion and organization are what we did on our own initiative. For example, some projects have gained rich achievement like the Cross-Strait Hong Kong and Macao Art Forum and the project of Splendid Art Platform under the cooperation with Ministry of Culture. But more projects are the spontaneous exchanges and cooperation between artists and groups and we only provide financial support for such a model. China Federation of Literary and Art Circles brings together outstanding talents in literary and art circles from all over China, including Hong Kong, Macao and Taiwan,and has long been concerned about supporting the development of Macao's culture and arts. We hope to promote resource orientation and fill in blank areas with China Federation of Literary and Art Circles and others through different forms of exchanges to accelerate the literature and art to develop to the professional and international direction.

J: The MAPP and PMLS of the Macao Foundation in 2018 have been launched. What are the new appearances of these two projects this year?

WU: In the next year or two, we will enhance our professionalism. The judging panel will have a more rigorous review of the project and make more detailed demands on the creation.

J: What is Macao Foundation’s next new target in literary support?

WU: We hope that, through various types of funded projects, we will promote greater unity and harmony among the arts and cultural communities. In these years, we can clearly see that Macao's culture and arts are improving and their professional standards are constantly growing. What is more important is that young talents of arts and culture have grown continuously, their ranks have grown with much formed prosperity. We must promote the education of patriotism for Macao and our country in the city so as to form a broader patriotic force. Of course, we do need more assistance from the arts and culture community.