香港工會史

如果大家對香港工會史有興趣,screen完一輪readings之後,我會推介呢兩篇:

(有時間再寫返個中文簡評)

Ng, S., & Ip, O. (2009). Hong Kong’s Trade Unions as an Evolving Social Organisation and Their Prospects for the Future. In Kuah-Pearce K. & Guiheux G. (Eds.), Social Movements in China and Hong Kong: The Expansion of Protest Space (pp. 205-226). Amsterdam: Amsterdam University Press. doi:10.2307/j.ctt46mxv6.14 **

  • Traced the change of the role & focus of Trade Unions:
  • From 1920s China-inspired working class movement, to 1940-50s FTU v. TUC political function of ensuring loyalty of rank and file members, to 1960-70s de-politicisation and pivoting to providing better members’ benefits, and take up the role of spokesperson of workers and pressure group for grassroot interests for public policy making
  • Argue that in 1980-90s with the rise of CTU, return to ideological confrontation between FTU and CTU, and trade union leaders became less involved in the workplace (as predicted by the ‘union integration’ thesis), due to competition in legislative politics and role of leaders of workers’ rights -> ‘transmission belt’ function
  • Argue with de-industrialisation, union docility and lack of collective bargaining paradoxically provided strategic flexibility for unions to exist; observed a move from workplace to society, changed role as ‘agency’ penetrating residential communities: potential to develop a Third-way ‘community unionism’
  • Argue that workplace is becoming unorganisable due to rise of atypical employment; foresee the role of community unions in representing cross-sector workers’ general interest in labour employment and reproduction issue -> a global trend in post-modern urban societies

Chan, M. K. (2001). Hong Kong workers toward 1997: Unionisation, labour activism and political participation under the China Factor. Australian Journal of Politics & History, 47(1), 61-84.** (呢篇對了解深陷議會政治的工聯會同職工盟,都好有意思)

  • Traced the process of realignment of labour unions in Hong Kong from political left-right rivalry between FTU vs. TUC towards new configuration of FTU vs. CTU
  • through studying the change in the role and action taken by FTU from political reforms since 1984 – into an alliance of left union + big business + CCP organisations
  • and the rise of CTU-affiliated and independent unions in the pan-democrats camp, and the movement from electoral success in 1991 and 1995, as well as internal personnel and class-orientation fracture that caused them to lose ground to the DAB-FTU alliance in 2000 
  • Author called for an alliance of leftist and center unions for ‘bread and butter’ issues through socio-economic unionism 

寫長文寫到好忙,得閑撚下狗,連續留在家3天都無咩感覺,and 仲未完。史稱「還債期」⋯⋯

Be one

我想對於沒有外在目標的生活,我有一種懶惰,我會閉上理論與經驗如流水橫飛的that side of the brain,進入對溫煦怠慾的徹底追求。而我願意去承認、擁抱,那份追求對於我的defining 價值,以及以往我自己在自己與他人驅使下不斷壓抑、扭曲其形狀,對自己與他人造成莫大的創傷。

然而這份懶惰終究是不堪一擊的。當有人以真摯的心情,提出一個質問,那個理論與經驗我的不耐煩以及不欲溝通,令到彼此都很辛苦。這常常發生在我和我爸身上。他會send一篇真知灼見比我,問我一個政治問題,然後我非常不耐煩地叫佢自己google,或者乾脆不理。

那些以日常對話體、常人的感受與認知進行的政治對話,對於我來說總是莫名其妙地艱難、不情願。在以往的一段關係裡,對方很擅長這樣做,那種對話仿彿天生就在他的骨子裡。而非常非常難堪的是,最後我們二人的對話,窮得只剩下sex joke,在異鄉浸滿世界歷史的土地上。

要從頭面對、回應一些與我當下的行為與思路已差很遠的事情,我會很容易感覺到被質疑、被侵犯某些思想的疆域,或者我不能接受我由始至終都錯了的可能,那樣我與我的世界會崩塌。我太過怕「錯」,有對人影響很深的人曾這樣說,而我同意。所以會進入一種很defensive的狀態,我那位愛對話朋友最清楚。

我想為了這個世界,我個人的世界裡我啱係無意思嘅。為了把我有幸接觸與認識到的世界另一些風貌,與我身邊關心我、愛我的人以及更廣泛的大眾分享,我必須學會放下自己,放下那些思辯裡保持自立不敗之地的必要,再從心底裡支撐我向前的鐵樑裡,提取一些故事與片段與大家分享。

這樣才不負曾無私為我付出過耐性與時間的前行者。

*

想講的片段有:去新工會街站傾計,學識車長都有通宵更啦、籌備女工展覽看過的女工生平啦、員總工友杜總煮糖水種瓜有幾可愛啦、聽到街站護士話罷工都要返night更有幾sad啦、以往有聽過朋友因為性取向而如何徘徊崩潰邊緣、⋯⋯

我想我的「工作」也是我生活的一部分,而我想用這些擦過心靈的片段說明,所謂的階級,所謂的性別的重量。

這些東西要浸出來,一時三刻,三言兩語,都無法互相理解。

我有讓人進入自己這些私密敏感處的空間與意願嗎?你又有引導與聆聽我的心機嗎?

描一

(希望改變一下自己的寫作模式,挖掘更深藏有致的情感。)

滾輪

那是一座樓底過高的小堂,淺啡與米色的裝潢方便馬上替換一整套文化結構。我們排隊,在門外扶著靜躺在金屬支架上的紅棕色木箱;那是一種過份人為的紅漆面,像幼時見琴行擺買的大提琴。旅遊巴到山上時,我想起〈Death Stranding〉第一章裡煙霧與靈魂繚繞的、煙囪向上聳立的現代建築:果然是這樣。

被壓縮的等待,凝在右手兩指尖與粉紅玫瑰莖的磨擦上。

我發現我不能正眼凝視最當眼的照片:我得利用對陌生場景與禮儀的異樣感,將我抽離於一種過於沉實的真實。有時唸那些唸口黃的經文容易,有時並不,只要我想起我們已經—或不得不投入—相信,這些字句有所屬的聆聽者。

所以我能自信地開口的時候,只有歌詠的部分。將自己與自己抽離,將自己異化成演藝者,專心唱好大家唱不來的拍子與二音。我知道婆婆會鐘意聽我把聲。

有一個畫面我讓自己記著:紅木箱滾滾滾,沿著我們這邊米棕色系的光明禮堂,木底板順著一根根鐵滾輪,滾到火葬場勞動的世界裡去。我瞥見兩雙工作的手,在那邊準備好執行一堆已流程化的,我們無以、亦不被預設跟隨的步驟。

前一天我本來要到台前代表孫一輩講幾句的。我像之前一樣寫定幾行字,本來想推搪因為我真係感情不夠他人與她深厚。可是聽讀經讀到一個位,席間我忽然想起了正聆聽的人,忽然就愁了起來。本來我以為聽埋個講道、歇歇就可以把那些異物啃下去,可是開了那個屏,只能愈落愈多水花。結果身旁擅於安慰的妹妹自告奮勇代我,臨場說了段小學生的爛漫悼言,姨媽們驚喜得要拍起掌來了。

忍著全程,最後去個洗手間,吃吃地哭了起來。離席前司儀領全場三鞠躬,忽爾接上了多年來隨家人到長沙灣拜公公的情景。我突然很愕然:我不能接受,我將要對婆婆做我由出世開始,就對公公做的事了。

不是這樣的——我上一次見她,媽要我們說有轉機的話,因為情況的確穩定了起來,雖然心知不妙,我說,婆婆你快啲努力唞氣,出嚟煮海南雞飯比我哋食,無事㗎喇!——再上一次,我在她健康村家裡,食姐姐阿芬煮嘅飯,食婆婆切的生果,睇電視睇到走⋯⋯

最後在病榻、在棺木裡,看見的都是她臉的骨架,長得真像我兩個姨媽,也像我姨、我媽。鼻骨順著清秀的雙眉而落,顴骨帶些微如混血美人的艷雅,掛一個淺笑。從來見她微胖豐潤的臉,都不見她的面相原來這樣清美。

以後看著我媽我姨們就是看著她,或者我面上也有一點她。不多,最少那個笑可仿,只要平時隨和、煮飯時執著。

娶了紅玫瑰,久而久之,紅的變了牆上的一抹蚊子血,白的還是“床前明月光”;娶了白玫瑰,白的便是衣服上的一粒飯粘子,紅的卻是心口上的一顆硃砂痣。

張愛玲〈紅玫瑰與白玫瑰〉

After Jane Eyre, I guess I want to start reading some Zhang Ailin. So much I wanna do and so fuzzy my vision of upcoming times that I can’t even say for sure what’d happen.

At least I’m no longer making myself to read too much politics by obligation of whatever kind!

And I’ve sent an email asking for a final consolation/ resolution initiating by my side. I have a feeling that it would bring some closure to it.

Sorry for speaking in cryptic terms – i guess stuff that really matters us just harder to tell.

Portrait drawing & Philosophy.. & Politics!

Very brief remark here on a lifetime project to embark on at some point in my life. Just discovered that the Chinese portrait drawing style has an existentially different worldview than the common, Western-infested & hierarchical, sexual ones that I was raised in.

first, you realise phantom of opera type transgressive but mainstream romance kind of really fascinates me. I’m sure it’s deepseated

It steps at the line between purity and transgressing into lust.

Second, you realise how I can’t appreciate asian figures as much as western, and male as much as female at all. Like i know this is sexist and racist and even for-profit cheap aesthetics… but i just like it.

Asian bone structures are just a hell lot harder to grasp (from my starting pt i guess.. used to drawing the sharp eyebrows and chins first n foremost).

My original approach to female beauty might be guilty pleasure as it’s called…i have thought of learning to draw crests of elderly chinese ppl.. to sort of correct my worldview….or even just the leaves and plants. I have this guilty feeling that i sort of have a ‘duty’ to correct myself and get in touch with the ‘real world’ drawing wise.

i think the Chinese tradition of portrait drawing has a deep humility and humanist sense to it.. probably a socialist remnant worths preserving a lot:

https://www.pinterest.com/pin/20547742030947381/?lp=true

You can easily differentiate between Western style female and the Chinese style in the above mixture of both.

In the Chinese modern portrait tradition, there is a sense that even though the drawn person can be a very sexy/ beautiful girl, there is a sense that she is a unique person with a unique stare and facial expression that’s just at peace with being herself.

https://www.youtube.com/watch?time_continue=106&v=yGfy0Rw1D3k&feature=emb_logo

There is a feeling that you cannot and would not objectify her; this person has a life that shaped her gaze, crystallized in this particular snapshot of hers.

Whereas the western female gaze at the drawer/ audience is always predominantly colored by their being sexual/ female, in an almost identical flavor.. relatively speaking. Even the stare of a young girl invokes biblically mysterious innocence of the female species; while however undesirable and man-like a Chinese 大媽 looks in a portrait, in every facial detail lieth attraction, and that’s what gives male and female, the young and aged, the laboured and storied more so than the privileged more or less equal attraction as object for study.

Western objects attract by desirability; Chinese by honesty.

Third, you realise it has EVERYTHING to do with socialism in China.

中國素描一直以來有“德派素描”與“蘇派素描”之說。建國後,中國向前蘇聯派遣大量美術留學生,同時還聘請了前蘇聯專家來中國傳授素描技藝。這就使得蘇派素描在中國從者甚重,繁衍不絕。因為中國當時向東德派遣美術留學生相對較少,因此德派素描在中國應者寥寥,孤立難支。

當時,從推廣規模、流行程度和客觀影響力上看,中國的德派素描完全無法與蘇派素描相比。儘管德派素描只在很小的範圍內傳播,但是仍有很強的試驗性。前蘇聯的社會主義現實理論作為強大的藝術規範,曾被很多社會主義國家奉為藝術至上的法則。而德國,雖然在二戰後被分割為東西兩部分,但東德與其他社會主義國家一樣,也以前蘇聯為榜樣,拒絕西方現代主義藝術。儘管如此,由於德意志民族藝術傳統比較強大,一些東德藝術家在一定程度上還是沒有搭理前蘇聯那一套。他們以傳承西方古典藝術傳統為藝術教育的基礎,尤其推重以丟勒和荷爾拜因為代表的藝術表現方法。這樣一來,雖然也是具象造型訓練,也追求客觀真實效果,但從審美格調和製作技術上來說,就與蘇派素描有了些許不同。

中國頂尖人物畫高手,四十年前的人像素描https://www.zixundingzhi.com/yishujiaoyu/4d1880894d2085ca.html

And this was even greater..

對學習者來說,力不會顯現在形體表面,它是潛藏於形體內部的模糊存在,想掌握它就必須經過長期刻苦訓練。一般說,初學時是不可能知道什麼是“力”的,畫靜止對象也很難對這種存在於心理上的“力”有所感知。就個人學習體會說,是經過大量運動人體素描訓練后才真正感知到生物性的“力”的存在,因此科學的、系列化的訓練程序是必不可少的。在中國流行的蘇式素描訓練中通常隻重視對“形”的模擬而忽視對內在“力”的表達。有沒有對“力”的捕捉和表現,也是德蘇兩派素描訓練體系的重大區別之一。

“德派素描”與“蘇派素描”的差別 http://fj.people.com.cn/BIG5/n2/2017/0213/c380482-29708771.html

Wtf u differentiate two schools by such metaphysical concepts… so coooool! I m sure i m quite sensitive about these type of stuff. I now feel so much better about philosophy as such – their differences are probably a lot more pronounced and graspable in drawing than writing style, to me.

德派 (?)
Drawing Manga how to draw manga , comic , vẽ chân dung , Landscape Architecture, Architectural Record,đồ án kiến trúc,mediafire,autocad,3dsmax
中式蘇派(according to know-nothing anna)

More Politics talk..

無論德派還是蘇派,都與冷戰時期的國際政治背景有關,都是當時社會主義國家之間開展美術教育交流的結果,也都是社會主義國家制度下的特有文化現象。其中,中國曾向前蘇聯派遣大量美術留學生和請前蘇聯專家來中國傳授素描技藝,使蘇派素描在中國從者甚重,繁衍不絕。因為當時向東德派遣美術留學生相對較少,德派素描在中國應者寥寥,孤立難支。因此,從推廣規模、流行程度和客觀影響力上看,中國的德派素描完全無法與蘇派素描相比。盡管德派素描隻在很小的范圍內傳播,但是仍有很強的試驗性。

前蘇聯的社會主義現實主義理論作為強大的藝術准則,曾被很多社會主義國家奉為藝術至上法則。而德國,雖然在二戰后被分割為東西兩部分,東德與其他社會主義國家一樣也以前蘇聯為榜樣,也拒絕西方現代主義藝術,但由於德意志民族藝術傳統比較強大,民族自信心也較強,所以東德藝術家在相當程度上沒有搭理前蘇聯那一套,而是以傳承西方古典藝術傳統為藝術教育的基礎,尤其推重以丟勒和荷爾拜因為代表的藝術表現方法。這樣一來,雖然也是具象造型訓練,也追求客觀真實效果,但從審美格調和制作技術上來說,就與蘇派素描有了很多不同。

Damn… I really wanna learn to be a Chinese portrait drawer. Like i’ve heard of a lot of ‘politics v aesthetics’ stuff, but this time i rly get how important it is in coloring one’s perception.. it’s where 寫實風 dominates the market and it’s not easy to be.

Rather than redemption seeking, now it’s more like a freaking fun new in-road towards more eyeopening perspectives about the world (and ..socialism lol) that gets me radiating according to my friend!

A really nice realisation for me on sth that’s surely my passion!

Labour of love – on preoccupiedness

最近忙得無咩時間停下來咀嚼和書寫一下自己的感受,but it feels qualitatively different from a similar situation before in the sense that, what I am doing is now actualisation of changes that I believe to be righteous. It empowers and that labour feels closer to being me than previous self-reflectionary writings here.

Like finally publishing H & S’s story to let the world experience a fraction of the shock I experienced whilst being alongside them. (I have a much more solid understanding and feeling of the role of *reporting* the underreported.) Like actually representing consolidated will (however rudimentary) in front of the power-wielders at the institution I am employed at. Like really conducting honest conversations that change interactions for the better with people I care. Like really bringing our collectively written and edited words to people that craves for filling that intellectual and practical void (I am referring to the Strike Special by CUSP). Even though we are so fucking far from reaching real signposts and thresholds that turn the tides for the better, I can see myself as part of the waves blown towards a direction that I can identify and freely flow along with.

On that I am reminded of Marx’s words on the nature of labour:

A spider conducts operations that resemble those of a weaver, and a bee puts to shame many an architect in the construction of her cells. But what distinguishes the worst architect from the best of bees is this, that the architect raises his structure in imagination before he erects it in reality.

At the end of every labour-process, we get a result that already existed in the imagination of the labourer at its commencement. He not only effects a change of form in the material on which he works, but he also realises a purpose of his own that gives the law to his modus operandi, and to which he must subordinate his will.

And this subordination is no mere momentary act. Besides the exertion of the bodily organs, the process demands that, during the whole operation, the workman’s will be steadily in consonance with his purpose. This means close attention.

The less he is attracted by the nature of the work, and the mode in which it is carried on, and the less, therefore, he enjoys it as something which gives play to his bodily and mental powers, the more close his attention is forced to be.

Karl Marx. Capital Volume One , Ch.7, ‘The Labour-Process and the Process of Producing Surplus-Value’

*

So I’ll return to the waves as such labour is chasing me for their completion. I’ll end this with a poem I like a lot after reading it for DSE-preparation number of times (that equals infinity for a person like me):

Sandpiper

The roaring alongside he takes for granted,
and that every so often the world is bound to shake.
He runs, he runs to the south, finical, awkward,
in a state of controlled panic, a student of Blake.

The beach hisses like fat. On his left, a sheet
of interrupting water comes and goes
and glazes over his dark and brittle feet.
He runs, he runs straight through it, watching his toes.

– Watching, rather, the spaces of sand between them
where (no detail too small) the Atlantic drains
rapidly backwards and downwards. As he runs,
he stares at the dragging grains.

The world is a mist. And then the world is
minute and vast and clear. The tide
is higher or lower. He couldn’t tell you which.
His beak is focussed; he is preoccupied,

looking for something, something, something.
Poor bird, he is obsessed!
The millions of grains are black, white, tan, and gray
mixed with quartz grains, rose and amethyst.

Elizabeth Bishop

Line 4: William Blake, the visionary Romantic poet, wrote in the opening lines of his poem, “Auguries of Innocence,” that the poet wanted: ‘To see a world in a grain of sand/ And a heaven in a wild flower/ Hold infinity in the palm of your hand/ And eternity in an hour.’

Line 20: Amethyst and rose quartz are both varieties of quartz, which is crystalline silicon dioxide.

如有雷同,實屬巧合

Last night I dreamt I went to Manderley again.

It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. There was a padlock and a chain upon the gate……

Then, like all dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit through the barrier before me……. 

Du Maurier, Daphne. Rebecca. New York: Avon Books, 1971.

Dreams are usually closer to reality.

Closer to the elephant in the room than anything else.

So Rebecca is an enthralling story about a ladies’ companion who got courted for a fortnight by a rich, be-widowed Englishman Mr. Maxim de Winter. She then became Mrs. de Winter and then the new hostess of Mandeley, the inherited mansion in Cornwall.

A Mrs. Danvers, malicious housekeeper who remained loyal to Rebecca the first Mrs. de Winter exerted every single means to keep the new Mrs. de Winter on her edge. From foisting the old setting of the rooms to a worn iconic ball gown on the new hostess, she made every single detail of life an excruciating reminder of Mrs. de Winter’s inferiority to the immortal Rebecca. The only warmth radiated from the pet spaniel Jasper, with whom the heroine implicitly identified – another loyal pet to the obscure, constantly-troubled Maxim.

Everything heaped up into an intoxicating mix of intense self-denial & forced outwardly self-assertion until Mrs. de Winter got closer to the unbespoken truth of Rebecca, in the otherwise tranquil beach behind Mandeley; Maxim de Winter provided an explosive account of his relationship with Rebecca, one that sharply reoriented our interpretation of his earlier mutism (throughout over a half of the narrative) into an all-the-more inwardly ferocious turmoil – one that mirrored, or even surpassed, Mrs. de Winter’s.

‘I am Mrs. de Winter now, you know’, declared our heroine to Mrs. Danvers over a call regarding the menu for the night after.

The pair, reunited in their newfound and leaden understanding of each other, faced the ultimate doom for asserting the un-assertable – to the mansion that remained loyal to Rebecca. The estate was set on fire and the escaped de Winters became a forever diaspora to where they belonged – Manderley.

…… All this I resolved in my dream, while the clouds lay across the face of the moon, for like most sleepers I knew that I dreamed. In reality I lay many hundred miles away in an alien land, and would wake, before many seconds had passed, in the bare little hotel bedroom, comforting in its very lack of atmosphere.

I would sigh a moment, stretch myself and turn, and opening my eyes, be bewildered at that glittering sun, that hard, clean sky, so different from the soft moonlight of my dream. The day would lie before us both, long no doubt, and uneventful, but fraught with a certain stillness, a dear tranquillity we had not known before.

We would not talk of Manderley, I would not tell my dream. For Manderley was ours no longer. Manderley was no more.

We would not talk of Manderley, I would not tell my dream.

For Manderley was ours no longer. Manderley was no more.

拋橋過岸 — 點解想寫員總?

呢個係稿單前傳。點解我想寫一篇關於員總的東西?我都要回想一下。好似係有個人同我講今次「幫」學生報一月號的方式可以變下,而我都覺得自己做作者”walk the talk”會好過做一個過文的角色,係度endlessly指指點點。比下人指點、指出一下自己思考的角度與漏洞,跟著要自己執漏包生仔,個角色係會唔同&真實好多。同我合作或者傾過計的人都知,我指住一舊有興趣的東西可以不留情面地講講講講講,講完抹抹口水就算⋯⋯(fuck⋯⋯想搵窿捐。算啦做得出唔怕認。)

至於點解係員總,今日食飯傾一傾先知,我對於繼承返以往一些對我很重要的人與群體做落的功夫與議題十分重視。例如員總,畢竟是多年前(五六年可不算少)砌學生報出版政綱時看過的2003「肥上瘦下」、大大小小員生合力抗爭中的浴火而生的一個團體,也是我心底裡十分重視的基關組朋友們一路有、依家繼續有努力去collaborate去砌的一個團體,更是我依家的老細由2000年畢業起打拼的職工盟、同依家一系列”新”工會嘗試的成員之一,我會見到它是其中一個可以聚合運動後被政治化的能量的一個據點吧。不過今日有朋友話外國經驗係一啲職級、處境相近好多的團體先方便抗爭,員總呢種大包圍係好難做,我還沒有好好仔細想過。

員總可以同基層前線工友「坐埋一臺」開會,都係一樣我幾珍視的過程,呢個「員生大包圍」更令我感受得到校園每一個角落每一個人都有他的位置,與應被看見、聆聽的地方。呢啲經歷其實都會解答到我多年前見到啲舊學生報,成撚日係度講員生共治、校園版要營造到個社區氛圍(當然我地係失撚敗到仆街)呢啲當時那一年聽落,都令到我R撚晒頭的說法。(我幾記得我在一場初生之犢般在長洲呆坐,如常乾煎煲湯的討論裡,心裡完全不明白點解要傾或者搵啲興趣莊,儘管我傾得很起勁。)今次中大守衛戰一劫,同員總的朋友一齊度下有咩校巴/巴士線需要,有咩canteen搞咩,有咩職系的人要返先又有無糧出,我真係會感受到中大好似區選的一個區,區係真係要落手做出來。(當然我地,不如話我自己,都仲係條毛都未做起。)

所以唔講都唔知,我係懷抱著好多歷史情感包袱同提問、答案的發掘,去接觸員總呢一個組織。入去王福元樓103室之前,我已經抱著一個「員總」在胸間。

Not to mention 那個中大守衛夜的共患難一夕。那天我們在一場龐萬倫的師生平等對話之後,還在烏托邦似的眾志堂裡食自助飯的時候,有兩個blackbloc人走入來說炸彈與警察進場的傳聞,我們連飯也沒吃完就急急腳跑走。那一晚我幫員總出緊急聲明、一班人在明亮如舞室般的會室傾閑計(大家都比手機上的朋友悠然自得),晚上睡在門前一張瑜伽蓆上。這個在會室無刷牙睡覺的儀式,好像在我心裡,奠定了這個地方之於我的重要性。

更別說所有早一兩個小時在聊的staff們,不論年紀職級,都是很好相處的。(可惜那天沒有工友在一起。)

所以呢,我是想待在這個地方一會兒的了⋯⋯even if not formally。這是我心底裡的話。(我真是一個很容易被收服的人⋯⋯as long as the right button is clicked⋯=) )

也許這場自告奮勇的寫作,也是要幫自己在這股濃濃的情感之餘,共同理性認真向外闡清一下這個團體是什麼、當前在做什麼、以前做過什麼、以後還可以做什麼。就當是一個小小的Manifesto as if I am running for staying there – the voter being myself, and a group of trustworthy dear friends. (想起在英國的時候,學院Junior common room那張小小的彩色的候選同學自介。)

*

題目:中大員總 —如何發揮潛在的政治力量?

為什麼想同報社的學生,以及廣大的中大同學講員總?我諗最直接的原因都係,反送中的抗爭手法不斷尋求創新,使人開始把目光放在罷工之上,而大家慢慢在一場場動員式罷工的失敗之時,開始把目光放在工會組織之上。我自己其實都係因為呢個大局勢的原因,在11月初填了入員總的申請表。

我諗,全校有意於反送中抗爭的教職員、學生,都會對員總作為工會可以發揮到什麼作用感到興趣;另一方面,唔一定支持抗爭,但實際上對因抗爭而來的停工、復工等安排有不滿或怨言的職員,都可能感受到有工會反映一下底層意見的好處。至於在抗爭出現之前,就一直認同工會所做的事與自身認同的政治目標或直接利益攸關的職員,我的短暫觀察都只有少數,不是主要對話對象。

我想結構大致如下,內容會以訪問員總成員構成:

  • 員總本身:中大內三大工會最後成立的;介入了03肥上瘦下、09年導師正名行動;職工盟屬會;factbox on 會員人數、理事組成、會費、同校方的法定關係(+有份開的委員會)、恆常會務
  • 反送中運動中的角色:出聲明多(反送中、要求中大正視警方性暴力、緊急禁制警方進入中大等);不少私下與校方高層的溝通;復工前安排清潔校園安全工作坊、聯署關注前線工友及全面復工安全;復工後問卷收集校園問題意見、公佈結果
  • 面對的限制:人力不夠;私下與校方溝通時常被當耳邊風;群眾基礎不足以集體施壓(依家多了新會員自投羅網)
  • 突顯所面對限制的事件—被職工盟問及能否響應三罷的尷尬:目前動員力未能做到,也未有機會搞意見收集/投票去理解員工意向
  • 未來方向—如何連結職員、擴大會員基礎、連結新會員及招攬組織人才:點睇一些可行的方向,如多些同事對校務意見的交流、整合再公佈(e.g. 新組的對話,題材由交通、師生平等交流、到流浪教師待遇不等。)?多些現有會員分擔及擴展會務?多些招募會員的方式與場合?

棘途綠州 — 波隆那漁人的漁夫

(draft 1)

如果要用一句說話去講我認識他們時有多震撼,那會是:你有聽講過有人可以用賣啤酒的錢,去自發營運一間集住宿、求職、醫療、情緒支援、康樂、救援行動、地方選舉於一身的難民收容所嗎?

那就是我眼前的二人,望落去朝氣勃勃、仲完全未做夠的Nicola同Guglielmo。兩位來自意大利波隆那(Bologna),一個學生城市,也是全國著名、左翼運動歷史悠久的一個地方。唔講完全估唔到,二人已經在Labas這個組織長達七年:Nicola自15歲起已在目前的Làbas所在地、以往的社區會堂打盹,Guglielmo則在該城大學畢業後,對前途一片迷茫之下,找上了這個混沌未成形的天地。我們相遇在上星期一(2/12)聲援被逐印尼家務工Yuli的行動上,當時正值他們來港一周、觀摩反送中運動之行的中段。

我正感嘆他們創造了一個如夢般的地方,我身邊的朋友即馬上更正我:他看見的是無數的血汗與困難重重。經營一個自發的群體如此不易,經營一個佇立在「歐洲堡壘」(Fortress Europe) 政治浪尖上的群體就更加不易。我自己都曾經歷過經營一些自發群體的跌宕,因此更加好奇:為什麼他們能夠成功凝聚一班年紀極輕的朋友們,維持著維繫這種群體必須的信任與紀律,組織起一個真正與在地最弱勢融為一體的有機空間,並能有效無懼地持續對外介入不同的政治事件?

結構(*者為要research):

  1. 什麼是Làbas? (*規模、年期、範疇、成員背景及人數*)
  2. 他們身處在一個多adverse的政治環境?(意大利法西斯沒被完全清算的遺局、當前右翼主導的政黨格局、對波隆那與Làbas地區層面的影響)
  3. 當地目前的難民情況(*人數及來源地趨勢、融合情況、歐盟與意大利政府態度*、由法西斯主義者恐襲獲同情一事起,社會對難民態度之轉捩)
  4. 他們繼承著什麼波隆那過去所積累的運動力量? (*波隆那自治主義傳統*、波隆那火車站法西斯恐襲周年紀念傳統)
  5. 他們當前的組織內部的成功要訣:要有多有決心和膽色?(草根日常的社區中心起源、敢作敢想的醉言多番成真、各人的專責與興趣分工、財政自負、與社區與對外團體的強大互信基礎 -> 當地政法體系對走法律罅的默許、”Be water”不斷改進的精神 )
  6. 結論:自發群體中的極少數成功例子,有「法律罅」物資條件許可、巧合下的年輕骨幹、迫切政治議題、長年政治劣勢使然下的堅定團結。獨特,可複製度不高,不斷改進精神值參考

https://labasbo.org/

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