關於 travel groups for adults ，我們在網路上蒐集到這些相關的討論、資訊與評價

[100% SURE-WIN GIVEAWAY!]

As part of GetActive! Singapore's National Day Celebrations, Outdoor Adventures is organising The Warrior Challenge! on 5 Aug 2017 (9am-12pm) at Sentosa! Participants can clear obstacle courses in groups of 4 adults, 4 kids OR a mix of parents & kids.

Visit http://www.outdoor-adventures.com/TheWarriorChallenge_FullBrochure.pdf for more details.

And the great news is, it is FREE to participate for all cheekiemonkies readers!!! Just head to the registration page (https://www.eventbrite.sg/e/the-warrior-challenge-sentosa-registration-35926083884) and enter the code 'TWCCHEEKIEMONKIES' at the top right hand corner when you click 'REGISTER'. Don't say bo jio, ok? :)

BUT HURRY! Last I heard, only about 100 slots are available.

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

DPM Tharman Shanmugaratnam presented Budget 2013 this afternoon. His theme was “A better Singapore: Quality growth, An Inclusive Society”.

Our immediate priority is to solve the housing and transport issues. At the same time, we must upgrade our economy through productivity and innovation. Budget 2013 will help our businesses cope with much lower foreign worker growth over the next few years. It also contains schemes to enable every Singaporean to benefit from growth. For example, the Wage Credit Scheme will incentivise employers to raise salaries of their lower-income workers, as the Govt will pay 40% of these salary increases for three years. We will also focus on promoting social mobility, especially through education, so that children from less privileged backgrounds are not disadvantaged in our society.

The Parliament will discuss Budget 2013 in the upcoming weeks. You can visit www.singaporebudget.gov.sg for more details about the Budget. - LHL

We had the Budget today. We are transforming our economy so that we can have quality growth – growth that all Singaporeans will benefit from, and which will allow a better quality of life. And we are taking further steps towards a more inclusive society – starting with the kids, helping lower-income workers, and providing greater economic security for our retirees, including those in the middle-income group.

Here's an extract from the Budget Speech that sets out the main directions our policies are taking. The specifics are in the full speech linked below.

http://www.singaporebudget.gov.sg/budget…/budget_speech.html

BETTER SINGAPORE: QUALITY GROWTH, AN INCLUSIVE SOCIETY

Many Singaporeans, through Our Singapore Conversation platforms, have been sharing their hopes for Singapore – the kind of home we want to build for our families and our children. There has been a rich diversity of views. But a common set of aspirations is emerging, a common vision of the future that Singaporeans want:
• A home with a strong Singaporean identity and sense of belonging
• A Singapore with a robust and vibrant economy, and with good jobs that enable a more fulfilling pace of life
• A home with strong families, and where our seniors can age with dignity
• A society that takes care of the disadvantaged
• A Singapore with affordable living
• A society with greater sense of togetherness, and where the Government and the people have a more collaborative relationship

This is the Singapore that we want to build together.

The Government is making major moves to support this endeavour. Since 2010, we have embarked on major steps to transform our economy so as to create better jobs and allow for a better pace and quality of life. We are also making important shifts in social policies, as announced in last year’s Budget, to foster a fair and more inclusive society.

We will need to make further moves. So that by the end of the decade, we will have a better Singapore, a better future for all Singaporeans.

Immediate Challenges: Housing and Transport

First, we have pressing challenges in housing and transport. The Government will spare no effort in resolving these problems.
We want to reduce the cost of housing relative to the income of young Singaporeans. Prices in the HDB resale market and private market have risen too rapidly in the cycle that began as we recovered from the 2009 economic crisis. We have taken major steps to cool the housing market. We have also ramped up the supply of HDB flats which will help first-time buyers book their flats faster as well as ease prices in the resale market. And we have increased supply of private housing through Government Land Sales. The Minister for National Development will speak more in COS about these immediate challenges as well as how we can ensure affordable, quality housing for Singaporeans over the longer term.

We have to make many improvements in public transport. Congestion and waiting times are a daily problem for Singaporeans. We are ramping up bus capacity, especially feeder services, to improve frequency and add new routes. We are accelerating the rollout of the additional 800 buses that we made provisions for last year. In addition, the Land Transport Authority will be tendering out routes to private operators.

Our rail network will expand by more than 50% by 2021. That is still eight years away. But in the meantime, we will see improvements that will help relieve congestion. Parts of the Downtown Line will start operating from the end of this year, and new trains will be added to existing lines from next year. We will also introduce other measures to reduce crowding, including significantly enhanced incentives for commuters who travel during the “shoulder” periods before and after the morning peak hour. The Minister for Transport will talk about these measures in the COS.

An Economy and Society in Transition

While we fix these immediate problems in housing and transport, we have to press on with our priorities to help Singaporeans have a better quality of life over the medium to long term.

We have to shift gears for an economy and society that is in transition.

We are no longer a developing economy, but we have not achieved the level of productivity and income of an advanced economy. At the same time, our own workforce is growing more slowly, and is gradually getting older.

We must make every effort to achieve quality growth: growth that is achieved mainly through innovation and higher productivity, and growth that will benefit all Singaporeans – our children, working families, our elderly and disabled.

Our strategies for achieving quality growth and an inclusive society are in fact tied inextricably together. Raising productivity is not just our most important economic priority, but enables us to build a better society. Higher productivity is the only sustainable way to raise incomes for ordinary Singaporeans, and provide jobs that give people a sense of responsibility and empowerment. Higher productivity is also necessary for us to shorten working hours over time and allow Singaporeans to enjoy a better work-life balance.

Our society is also facing the pressures of widening income disparities. This is happening in cities globally and in Asia, but it matters more to us because Singapore is not just a city but also a nation. We must take further steps to temper inequality. We also want to do more to enable our seniors to have a sense of economic security and fulfilment in their retirement years.

On both economy and society, therefore, we need to shift our thinking.
In government: where we are reshaping policies and driving new initiatives, especially to sustain social mobility and strengthen support for older Singaporeans.
In the business community: which has to innovate and adjust to the permanent reality of a tight labour market.
In our society at large: where we have to accord ordinary workers not just better pay but greater respect.
In the community: with non-profits and other voluntary groups pursuing the causes we all believe in, and working with an active partner in the government.
And for all of us individuals, to do our best to improve and to contribute to our country in our own ways.

Transforming Our Economy for Better Jobs
We are restructuring our economy. We began this in earnest in 2010, by:
• Tightening foreign worker inflows;
• Supporting enterprises in their efforts to upgrade operations and improve productivity; and
• Investing in our workers by heavily subsidising their training, in every skill.

We need to intensify this economic restructuring and skills upgrading so as to achieve quality growth. Although wages are going up in a tight labour market, productivity has lagged. If we do not do better in raising productivity, we will be caught in a situation where businesses lose competitiveness, and wages eventually stagnate. Both workers and businesses will be worse off.

We must help our SME sector revitalise itself. There are however wide divergences in efficiency amongst SMEs even in the same industries. Restructuring will unfortunately lead to some businesses being winnowed out, but the end result must be a vibrant and sustainable local SME sector. Every support must be provided to help the businesses which bring in more efficient techniques and service models, so they can grow in a tight labour market, and where possible make their mark internationally.

There are already many examples of SMEs transforming themselves, in every sector. For example in furniture manufacturing, local firms are training multi-skilled employees, relocating manpower-intensive activities, developing unique brands and carving a niche for themselves in overseas markets.

To make this economic transition, we must also harness the value of older Singaporeans and design jobs suited for them, as well as for other potential employees who are unable to work regular, full-time schedules. Flexible work practices must become more common, enabling employees to structure their work so that they have time for their families or for personal development like part-time courses. We should also make it possible for more employees to have the option of telecommuting from home or working from “smart work centres” near their homes, like what they have in Amsterdam and Seoul. The Government will work closely with businesses in these efforts.

Building a Fair and Inclusive Society

We are also taking major steps to ensure a fair and more inclusive society.

• First, to sustain social mobility. Meritocracy alone will not assure us of this. We therefore want to do more, starting from early in our children’s lives, to give the best leg up to those who start with a disadvantage. We cannot change the fact that children have different family backgrounds that bring very different advantages and disadvantages. But we want to find every way, at the pre-school and primary school levels, to help our children from poorer or less stable families to develop confidence and the self-belief that gives them aspirations of their own, and to help them catch up when they fall behind. And we will provide pathways to develop every skill and ability, so that every child can discover his strengths as he grows up, and can do well.

• Second, we must do more to mitigate inequality. We are making our fiscal system more progressive, by tilting our taxes and benefits in favour of the lower- and middle-income groups.

Currently:

i. A lower-income older worker receives a significant top-up of his income through Workfare each year.

ii. A middle-income family with a child in child care gets subsidies of $4,800 per year. If the child is in university, he can receive more than $8,500 in bursaries over the course of his studies, and get a subsidised government loan to pay off the remaining fees and cover study expenses. Children from lower-income families receive far more.

iii. Singaporeans with disabilities now receive substantially greater support. Both when young through early intervention under EIPIC, and as adults, where we provide a substantial incentive through the Special Employment Credit (SEC) for firms to employ them so that they can contribute and lead more independent lives.

iv. An older Singaporean in need of long term care can receive subsidies of $870 per month for home-based care or $1,200 per month if he is in a nursing home, following the changes we introduced last year. Those who need more help will get it through Medifund.

We will take further, significant steps in this Budget towards strengthening social mobility and increasing the progressivity and fairness of our system. In particular, with enhancements to Workfare, a low-wage worker who is 60 years old would receive a top-up of his pay of about 30%. This is in addition to what his employer can receive through the SEC, and the new Wage Credit Scheme, to be introduced in this year’s Budget, which will encourage his employer to up his pay.

While raising incomes is the best way to help lower- and middle- income Singaporeans cope with rising costs, this Budget will also include measures to help them more immediately. The most significant support will go to older Singaporeans, to help them with medical costs.

Taking all our measures together, including those which will be announced in this Budget, we are providing substantial benefits to lower- and middle-income Singaporeans. The full picture can be seen if we look at benefits over a lifetime, starting from a couple’s needs when they first have children, to the time they get old and need other types of help, especially with healthcare costs.

In total, over a lifetime, a young low-income couple with two children can expect to receive more than $600,000 in benefits in real terms (2013 dollars). (This comes from subsidies and other means-tested benefits for their children’s education, housing, healthcare, Workfare, the GST Voucher, and other schemes.)

This is much more than we used to provide in the past. In the last decade alone, we have more than doubled the lifetime benefits in real terms for such families.

When we take into account all the taxes that such low-income families will pay (mainly GST), they will get back far more in benefits. In fact, they will get more than five dollars in benefits for every dollar in taxes paid.

However, today’s generation of older Singaporeans will not benefit as much as younger Singaporeans from the enhancements in Workfare and CPF and other schemes. We want to do more for this senior generation of Singaporeans, who worked over the years, often with low pay, to build a better future for their children. They made today’s Singapore possible. We will do more for them. The Government is reviewing the system of healthcare financing and some other schemes to help them in their retirement years.

Finally, the Budget will make significant investments to nurture the sports and arts, which play a growing role in enriching life in Singapore. Over the next five years, we will invest 30% more in sports programmes, and more than double our investments to develop regional- and community-level sports facilities. The Government will also create a new Cultural Donation Matching Fund, to provide dollar-for-dollar matching for donations to the arts and culture.

In short, we are building a better Singapore: a more inclusive and caring society, with an innovative and dynamic economy, so that Singaporeans can have better opportunities and more fulfilling lives.

http://www.singaporebudget.gov.sg/budget…/budget_speech.html

Hmm...SiennyLovesDrawing?? can't relly remember how long ago she was at a zoo visit?❓⁉️

Recently, she ?? & some of her media friends ????went to visit The Taiping Night Safari @ Taiping Zoo (Taman Mergastua Sultan Idris Shah), Perak, Malaysia ??

Yes, it's the 1️⃣st of its kind in Malaysia ?? with bathed in lighting similarly to moonlight ?? & in a nature alike surroundings to house the animals. In an effort to maintain the experience of a natural environment, this Taiping Night Safari attempts to display nocturnal animals in natural looking settings ????

This Taiping Zoo is special in its own way i.e. located in a natural setting in Taiping Lake Gardens & close to the foot of the Taiping Maxwell Hill ⛰? with streams, lakes & abundance of flora to providing the zoo a unique advantage of being able to use nature ?? to its best. It's the only zoo in the North of Peninsular Malaysia ?? & covering an area of 34 acres. This zoo has embarked on an expansion programme including the building of "Open Concept" animal enclosures & is currently home to more than 180 species of animals i.e. Malayan tigers ? , African lions ? , elephants ? , Hippopotamus, Giraffes ? , Hornbills, Orang Utans, otters, owls ? , Rhinoceros ? etc.

It provides the opportunity for all its visitors/ guests ???to appreciate & value the treasures of nature ?? while enjoying oneself. It's also providing a unique tourism product @ Perak state of West Malaysia. Some of the animals in this Taiping Zoo are active at night. All its visitors/ guests ???will be able to experience this green nature alike environment i.e. a wildlife habitats where the numerous creatures' sounds can be heard ??& appreciated by the visitors/ guests???

What are the Don'tsss ❌❌ during visit @ Night Safari of Taiping Zoo?

❌Do not feed and disturb the animals
❌Do not cross barriers or railings or pluck, cut or destroy trees & plants
❌Do not litter. Please use bins provided
❌Do not bring your pets
❌Do not use torchlights ? & flash ? cameras

The above requirements are important so that all its visitors/ guests can fully appreciate their visiting experiences during the Night Safari visit ?

Not just that, all its visitors/ guests ??? are required to try their very best to minimise all noices & speaking so that the sounds of the night ?? animals can be heard??By reducing ⬇️ the noises ????, it also helps to maintain the peaceful atmosphere of this Night Safari. Torchlights ?& flash cameras ? are not allowed ❌ to be used during the Night Safari visitsss to avoid all the animals in the Taiping Zoo being disturbed

This Taiping Zoo also collaborating ? with various of both local & global conservation efforts ?? Bravo ????

Separate admission fee ? is required for Taiping Zoo & Night Safari respectively
Night Safari Mini Train/ tram ? ? is FOC ? for all its visitors/ guests
Discount is available for groups of both adults ????‍♀️??‍♂️????‍? & children ?????? (only 3 to 12 years old) (more than 20pax) & senior citizens ?????? (above 55 years old). FOC ? entrance for kids ?? below 3 years old

Address?: Taiping Zoo & Night Safari, Jalan Taman Tasik Taiping, 34000 Taiping, Perak Darul Ridzuan, West Malaysia
Operating hours?:
Zoo Taiping ~ 8am to 6pm daily
Night Safari ~ 8pm to 11 pm every night & till 12am for Saturdays & Public Holidays
Website?: http://zootaiping.gov.my/

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