KUCHING: Amid the roar of engines and thumping music energising the atmosphere, the Fast Culture Carnival 2025 carries a far greater mission for Sarawak than just entertainment.
Organised by a group of local youth, it serves as a catalyst for investment in Sarawak’s creative and digital economy, particularly empowering the younger generation.
According to festival organiser Adibazli Affendi, the event is a platform that merges diverse economic sectors—from the automotive world and local entrepreneurship to digital technology, content creation, and tourism.
“We are committed to proving that Sarawak’s youth can help drive the state’s economy forward, as long as we’re given the opportunity and the right support,” Adibazli said when met.
He revealed that the event cost over RM2 million, funded mainly through crowdfunding with some financial backing from the Ministry of Tourism, Creative Industry, and Performing Arts.
“Everything—from the concept to planning and execution was done by us, without hiring professional event companies. But the impact is significant, as we involved local vendors, regional content creators, and many young people.”
Adibazli emphasised that the goal is not just to hold a single event, but to position Sarawak as a major hub for youth-focused creative economy festivals in Southeast Asia.
Despite the high initial investment, he believes the return is worth it, as the carnival unites a range of small and micro businesses into a single, vibrant ecosystem.
Activities included car exhibitions, young entrepreneurs’ product showcases, street food, automotive tech demos, and performances by local and regional artists.
“My hope is that this carnival inspires youth to invest in their hobbies, interests, and talents. With the right support, events like this can go beyond entertainment—they can create jobs and income opportunities for many young people.”
Adibazli also expressed hope that the Sarawak government will allocate stronger financial support for next year’s edition.
He stressed that large-scale festivals require stable funding to be sustainable.
“We are open to working with government ministries. In fact, that’s been my dream from the start. Without government backing, it’s hard to make this an internationally recognised annual event.”
“This isn’t just about organising a festival. We brought in content creators from Thailand, Indonesia, and other Southeast Asian countries to produce promotional material about Sarawak. These digital contents stay on their platforms and are viewed by millions,” he said.
He added that automotive influencers with massive followings on social media can serve as highly effective tourism ambassadors—more impactful than traditional campaigns.
This, he says, is a new form of investment in the tourism and youth economy sectors, and with the right partnerships, Fast Culture Carnival could become one of Sarawak’s annual flagship events.
“Like the Rainforest World Music Festival and Borneo Sonic, but with a different focus—highlighting youth, technology, and digital content,” he said.
