Shuffle Dimensions - 50th Hong Kong Arts Festival

適逢香港藝術節踏入金禧 50 周年， 謹此衷心祝賀。 香港藝術節是本地和國際藝壇一年一 度的盛事，致力為香港文化生活增添 姿彩。鑑於 2022 年年初的第五波疫 情，香港藝術節部分現場演出因場地 關閉而須取消。儘管如此，藝術節 迅速作出應變，一方面將部分演出移 師線上舉行，另一方面如期舉辦多 個線上節目，更開放其中多項節目 供市民免費觀賞。此外，今年的藝 術節還安排把六個現場演出節目改於 2022 年下半年舉行，作為第 50 屆藝 術節的「延續」，巧妙地承接大會主題 「繫」， 亦充分反映香港藝術界的人士 能隨時隨地發揮無限創意，將文化糅 合於市民的生活之中。 香港藝術節將安排在 2022 年 7 月至 11 月期間上演連串多姿多彩的現場 節目，包括︰向一代粵劇名伶致敬 的「新馬師曾名劇展」以及動人心 魄的大型舞作《無極》。為慶祝香 港大會堂 60 周年及香港藝術節 50 周 年，香港小交響樂團將與城市當代 舞蹈團攜手呈獻精湛的聯合音樂會 《影幻形光》。

I congratulate the Hong Kong Arts Festival (HKAF) on celebrating its Golden Anniversary this year.

Striving to enhance the cultural vibrancy of Hong Kong, the HKAF is an annual highlight for arts enthusiasts from home and abroad. Due to the closure of cultural and arts venues during the fifth wave of the pandemic earlier this year, certain in-venue programmes had to be cancelled. This notwithstanding, the HKAF was quick in moving some programmes online while presenting some others (including those open for the public free of charge) as originally planned. Six of these programmes were rescheduled in the latter half of 2022 as a “line-up” to continue the HKAF under the theme “Connected”. It demonstrates the flexibility and creativity of the Hong Kong arts sector in infusing culture in the daily lives of people.

This year’s HKAF features a wide array of in-venue programmes, including A Tribute to Cantonese Opera Legend Sun Ma Sze Tsang and the stunning dance performance Colossus, which will be presented from July to November. In addition, the Hong Kong Sinfonietta and artists from City Contemporary Dance Company will jointly present an evening event featuring a spectacular music and dance performance entitled Reflections of Refractions, to mark the

HKAF’s Golden Jubilee and the 60th Anniversary of City Hall.

Every year, more than 1,700 local and international artists take part in the HKAF. With its wide array of traditional performances and innovative contemporary works, the HKAF plays a crucial role in raising Hong Kong’s international reputation in the arts world while highlighting the rich local culture. At the same time, it underpins the strategy to support Hong Kong’s development into an East-meetsWest centre for international cultural exchange under the National 14th FiveYear Plan.

I am encouraged to see that despite the tremendous difficulties during the pandemic, the HKAF remains committed to promoting arts education in schools and other outreach activities. In particular, the PLUS programmes of the Festival bring together artists and members of the public through a range of activities such as behind-the-scenes videos, masterclasses, artist dialogues and preand post-performance talks. I would like to express my sincere gratitude for the hard work and dedication of the HKAF team who always strives to ensure the Festival’s ongoing success over the past 50 years. My gratitude also goes to all sponsors and donors for their generous support to the HKAF and the local arts and cultural development.

I wish the 50th HKAF a resounding success, bringing to us many more fabulous programmes in the next 50 years. I also look forward to your continued support of the HKAF.

John KC Lee Chief Executive Hong Kong

應變，而藝術節仍努力不懈為觀眾

帶來海外與本地的出色表演。

國際交通早前尚未完全復甦，表演

場地亦因第五波疫情而暫時關閉， 香港藝術節遂作出相應調整，以

線上形式呈獻一系列世界級精采表

演，並安排部分現場節目延期至下 半年上演。今年的主題「繫」，更 是突出香港藝術節如何透過戲劇、 舞蹈、歌劇和音樂等節目，跟世 界保持聯繫，同時也跟觀眾保持聯 繫。我們深信優秀的藝術，不論以

何種形式，都能療癒人心。衷心希 望我們能為你在這重要的一年，帶 來許多難忘時光。

我由衷感謝香港特別行政區政府透 過康樂及文化事務署提供年度撥 款，以及香港賽馬會慈善信託基金 持續並堅定地支持我們，也感謝眾 多企業贊助商、慈善基金會以至 個人捐助者，對我們作出的慷慨支 持。我亦要感謝一眾富有才華的

主席的話

MESSAGE

FROM THE CHAIRMAN

The Hong Kong Arts Festival marks a significant milestone this year. Thank you for joining us in celebrating its 50th edition. Though the pandemic continues to present challenges and has prompted us to be extranimble in our response this year, the Festival’s determination to bring you some of the best in performing arts from across the world remains unabated.

The prevailing conditions made travel difficult and the HKAF once again adapted. Though the fifth wave of the pandemic forced venues to close, the Festival still managed to present an excellent world-class lineup online and will present some of the programmes it couldn’t show, on a deferred schedule later this year. The Hong Kong Arts Festival remains “Connected”—to the world and to its audiences—bringing a range of programmes, including theatre, dance, opera and music. We are convinced that great art, in whatever form, is a tonic and we

hope to provide many memorable moments in this landmark year.

I would like to take this opportunity to thank all those who make the Festival possible. These include the HKSAR Government’s Leisure and Cultural Services Department, which provides an annual subvention; the Hong Kong Jockey Club Charities Trust, a long-time supporter of the HKAF; and corporate sponsors, charitable foundations and individual donors, for their generous support. Sincere thanks also to all the participating artists, who have brought such joy to Hong Kong audiences during these times, the difficulties of the pandemic notwithstanding.

I hope you will enjoy today’s performance and many others at this year’s Festival as we enter our next 50 years.

Victor Cha Chairman Hong Kong Arts Festival

歡迎閣下觀賞這齣第 50 屆藝術節 的節目。

由於疫情關係，第 50 屆部分現 場演出須改期至 2022 年下半年舉 行，成為藝術節 50 周年的延續 篇，部分節目則延至 2023 年在舞 台上正式上演。

在迎接期待已久的 2023 年現場演 出前，容我們在 2022 年底先作一 個中途的小總結。今日的影片正是 小總結的其中一部分，一方面感謝 台前幕後的努力，另一方面期盼明 年演出成功。希望這齣節目以至第 50 屆藝術節的其他節目都能讓你樂 在其中。

在過去五十年，藝術節一直是香港 歷史的一部分，見證了不少改變， 並全力促進這個城市的藝術發展及 文化交流。往後我們將繼續擔當這 個重要的領導角色，衷心期望與大 家攜手步向更長遠的未來。我們將 竭盡所能，繼續努力。

行政總監的話 MESSAGE FROM THE EXECUTIVE DIRECTOR

On behalf of the Festival team, I warmly welcome you to this programme at the 50th Hong Kong Arts Festival.

Due to the pandemic, many invenue performances have had to be rescheduled—some were postponed to the second half of 2022, while some will be joining the 2023 line-up.

Before we embrace the long-awaited new season of live performances in 2023, do join us in a small roundup—including this very film you will be watching—as 2022 draws to a close. We’d like to take the time to appreciate the efforts of all of our co-workers (whether on stage or behind the scenes) who made this possible, and to hope for a successful year ahead. Above all, we hope this film and other programmes from the 50th Hong Kong Arts Festival have brought you comfort and joy.

In this and many other ways, the Festival has been a part of the Hong Kong story during the past 50 years, playing a leading role in the development of the arts in Hong Kong. We will continue to try our best, and sincerely hope that you will stay connected with us long into the future and support our efforts to enhance the city’s cultural environment.

香港藝術節行政總監

余潔儀

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Executive Director

Flora Yu

Hong Kong Arts Festival

香港藝術節 HONG KONG ARTS FESTIVAL

馬祖耶夫、安娜 涅翠柯、詹安德列 亞 諾斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿 迪 • 羅傑斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫敦交響樂團、NHK交響樂團、皇家阿 姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比錫 聖多馬合唱團、維也納愛樂樂團

HKAF, a non-profit organisation launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

HKAF has presented top international artists and ensembles, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre

• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe

• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra

• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini

• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Gangsters of Hong Kong, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

香港藝術節多年來與知名海外藝術家及團體聯合

製作不少優秀作品，當中包括由香港藝術節、香 港歌德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合 製作的《抹窗人》、由倫敦老域劇院、布魯克林 音樂學院與尼爾街製作公司製作、香港藝術節為

聯合委約機構之一的「橫貫計劃」之《暴風雨》 及《李察三世》、由香港藝術節及上海國際藝術 節聯合委約的《青蛇》、三藩市歌劇院與香港藝 術節聯合製作的《紅樓夢》等。

香港藝術節 大力投資下一代的 藝術教育 。「青少 年之友」成立 30 年來，已為約 800, 000 位本地中 學生及大專生提供藝術體驗活動。藝術節近年亦 開展多項針對大、中、小學生的藝術教育活動， 包括由國際及本地藝術家主持的示範講座及工作 坊、學生展演、演前講座、公開彩排、以及欣賞 藝術節演出。同時，通過「學生票捐助計劃」， 藝術節每年提供約 10, 000 張半價學生票。 香港藝術節 每年主辦一系列多元化並深入社區 的「加料節目」

HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached around 800,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

Email: dev@hkaf.org

Direct Lines: (852) 2828 4910/11/12

Website: www.hk.artsfestival.org/en/support-us

演出，線上播放巴伐利亞國立歌劇院、班貝格交響樂團以 及巴黎歌劇院芭蕾舞團的精采創作。為慶祝藝術節五十周 年，香港賽馬會支持的特備節目【《拉娜》啟航香港】，則 以線上播放形式，與大家分享有關這次創新表演體驗的幕 後製作過程。 多年來，香港賽馬會致力培育本地藝術人才，今年透過支

The Hong Kong Jockey Club is delighted to once again partner with the Hong Kong Arts Festival as it celebrates its 50th anniversary year.

In the past 50 years, the Festival has brought a remarkable range of world-class performances to Hong Kong. Events which have never failed to bring pleasure and delight to us all, and to open up new perspectives for our imaginations to explore.

Throughout the years, The Hong Kong Jockey Club has been a major supporter, donating over HK$500 million to date. This is made possible by the Club’s unique integrated business model, through which racing and wagering generate tax and charity support for the community.

Rising to the challenge of the pandemic, this year’s Festival is no less impressive. The Hong Kong Jockey Club Series brings world-class performances through online productions from the Bayerische Staatsoper, Bamberg Symphony Orchestra and Paris Opera Ballet. Laila in Hong Kong, supported by the Club in celebration of the Festival’s 50th anniversary, provides an online insight into the making of this innovative performance experience.

The Jockey Club has long promoted local talent. This year, even more opportunities are offered via The Jockey Club Local Creative Talents Series and the all-new Jockey Club InnoArts Series. Meanwhile, the fourth edition of HKartsFestival@ TaiKwun presents a number of online productions in different disciplines, connecting artists and the community. As always, support for students is provided through the Hong Kong Jockey Club Student Matinee Programme.

With my best wishes to you all for a truly enjoyable 2022 Hong Kong Arts Festival.

Shuffle Dimensions

監製 Producer 香港藝術節 Hong Kong Arts Festival

藝術家 / 導演 Artist / Director

林欣傑 Keith Lam

Cong 四重奏 Cong Quartet

小提琴 Violin 戚耀庭 Francis Chik 小提琴 Violin 周業瑋 Chow Yip-wai

作曲 Composer

趙朗天 Alain Chiu*

Cong 四重奏 Cong Quartet

中提琴 Viola Evan Robinson 大提琴 Cello 鄭恩浩 Cheng Yan-ho

創意編程 (影像、數據)

Creative Coding (Visual, Data) 韓家俊

攝影指導 Director of Photography 張震揚 Martin Cheung

創意編程 (機器人、電子、感應器)

Creative Coding (Robots, Electronics, Sensors) 林欣傑 Keith Lam

攝影師 Camera Operation 盧榮光 Vincent Lo 溫智豪 Jarvis Wan

3D 影像 3D Artist 史佩霖 Jackie Sze

音響設計 Sound Designer 夏恩蓓 Candog Ha

舞台監督 Stage Manager

陳家彤 Chen Ka tung

燈光設計 Lighting Designer 麥國輝 Mak Kwok fai

執行舞台監督 Deputy Stage Manager 何沅穎 Jaime Ho

張家豪 Cheung Ka-ho 曾俞汶 CJ Tsang

製作經理 Production Manager

魏婉意 Gloria Ngai

助理舞台監督 Assistant Stage Manager 陳樂詩 Chan Lok-sze

Alain Chiu Fundamental

Differences

George Crumb Black Angels Thirteen Images from the Dark Land I. DEPARTURE

THRENODY I: Night of the Electric Insects

Sounds of Bones and Flutes

Lost Bells

Devil-music

Danse Macabre II. ABSENCE

Pavana Lachrymae

THRENODY II: BLACK ANGELS !

Sarabanda de la Muerte Oscura

Lost Bells (Echo)

RETURN

God-music

Ancient Voices

Ancient Voices (Echo)

THRENODY III: Night of the Electric Insects ——Sarabanda de la Muerte Oscura (Echo)

Composed by George Crumb in 1970, Black Angels is subtitled “Thirteen Images from the Dark Land”. The concept of Black Angels revolves around the fallen angels. Among them, the most notable is Lucifer, who committed the Sin of Pride in the Seven Deadly Sins, challenging the authority of God, and being banished from heaven. Creating a world of heaven in hell, he becomes Satan, the prince of darkness. The 13 images depict the emotional journey of wandering souls: their disappointment at losing gifts from the divine, their absence due to the destruction of their souls, and their comeback after redemption. Crumb saw this work as a metaphor for a world in turmoil, since it was composed during the Vietnam War.

The world in the year 2022 is still afflicted by ongoing wars and another dimension is now being grandly presented. The metaverse is becoming an independent simulation, projecting real images; imitating and distorting truths; faking reality; and deviating from truth and reality. Artificial intelligence is being self-built through machine learning, with the machine developing and duplicating its own consciousness. A purely simulated universe is laid over a reality that is not questioned by humans, creating a hyperreality—a “reality” more realistic than

actual reality. The bright future promised by the metaverse will in fact leave us disoriented in the blurred boundaries between the real and virtual worlds. Will the dimensions we are situated in eventually be replaced by hyperreality, which is boundless, unspecified and lacking any origins?

The cycle of the Black Angels their departure and return— never ends in the hyperreal dimension, reoccurring in reincarnation. We become muddled in this hyperreality between the real and virtual dimensions, imposing social order in a city of simulacra overshadowing reality.

Shuffle Dimensions was originally scheduled to be performed in March this year. It was an eagerly anticipated performance, being my first cross-disciplinary production in collaboration with an orchestra. Unfortunately, it was cancelled due to the pandemic. Since then, our discussions and the preparation processes were conducted amid several waves of the coronavirus.

As we conduct online and offline meetings, hold rehearsals, start production, cancel plans, film, edit and begin post-production, meeting each other over computer screens, sometimes we get confused about reality and virtuality in the merged realworld and online environment.

How can one be sure that we are actually talking to a real person

online? How can one verify facts about the world being circulated through the web without travelling?

Shuffle Dimensions aspires to illustrate the existence of a mixed reality, a post-pandemic actuality people have been experiencing during the past few years.

The production initially involved the use of an installation and a live performance, in the hope of placing the audience within a mixed reality. Since it was cancelled due to the pandemic, it is now presented through a film. However, can this format for public viewing replace the face-to-face experience? This is a question I kept asking after the performance was cancelled.

I came to the inescapable conclusion that the face-toface experience is irreplaceable. Since screens cannot ever be a substitute for the stage, we could not document Shuffle Dimensions simply by filming and editing a perfect performance. Instead, short films narrate our process of production, much like a music video or an experimental film. Therefore, we produced Shuffle Dimensions twice during this period, resulting in two completely different versions.

People are now accustomed to living in shuffled dimensions, so how should they approach the blurred lines between fact and fiction in this hyperreal world?

Keith Lam

《 Fundamental Differences 》簡序

A brief note on Fundamental Differences

在創作過程中將資訊轉化為聲 音，等同從瓦礫中重新建設。 數據雖然在某種程度上是中性 的，但它作為人類活動的產 物，蘊含多重意義，既是象徵 符號，可以闡明變化，又能反 映社會、政治及環境議題。 在轉化的過程中，藝術家好比 數據科學家，傾盡全力整合資 訊，透過一組組數據披露新發 現。但藝術家有一點不一樣 ： 他們不會營造中立的假象。我 們不能對身邊一切公正無私 ； 藝術家不會屈服於主流論調， 而是利用變化多端的方式去詮 釋世情。 將資訊轉化為聲音的過程中， 作曲家並無參與藝術介入 ； 紀 錄數據後，作曲就僅僅是個按 規律排列的過程，那是音符和 節奏的一場偶遇。我發現世界 自有其妙趣的作曲方式，它糅 合不同旋律，無視平行五度的 原理，旋律或大幅跳進，或偏 離主調。先鋒派藝術家主張在 創作過程中適度抽離藝術家的 角色，這特色在漢斯．阿爾普 的拼貼畫、簡寧漢隨機的編舞 風格，以至威廉．布洛斯混亂 無序的文字裏都顯而易見。在 轉化聲音創作《 Fundamental Differences 》的過程中，我也 得以放下一些作曲家的自我 。

但這並不代表《 Fundamental Differences 》缺乏人類情感 ； 相反，正因為數據的中性特質 （它大致上只是一堆方格內的 數字），收集數據的動機、地

點及目的就成了作品的關鍵。 由林欣傑收集的五組數據，網 羅這座城市一些日常以至獨特 的數據。對我來說，這些數 據就是經緯線，又往四方八面 擴散開去，拓闊我們對時代精 神面貌的認知。每組數據建 構各自的音樂世界，展現於 每篇樂章對比鮮明的音質與聲 音質感。 我不過是個傳譯員 ： 你聽到的 每顆音符都是由收集得來的數 據直接或間接地決定，它創造 了多個音樂場景，組成完整的 舞台調度。過程中，我得以創 作忠於當下處境的作品，同時 為縈繞不散的情感留下註腳。

趙朗天

Sonification as a creative process is essentially a procedure to turn artifacts/ remnants into new things. The artifact, being the data, while partly neutral, contains multitudes of meanings. They are symbols, have the ability to annotate changes, and signalise social, political and environmental issues. Through sonification, the role of an artist collides with the role of a data scientist: they consolidate information, overturn every stone, and reveal their discovery in datasets. The difference is that an artist makes no false promise of maintaining neutrality. We cannot be impartial to our surroundings; artists cherish the vastly diversified ways to interpret phenomena instead of succumbing to grand narratives.

This sonification process involves less of a composer's intervention. Once the data is recorded, composing becomes merely a process of “making things fall in line”. A chance meeting of notes and rhythm. I've learned that the world has an interesting way of composing its own music. It is a contrapuntal composer who negates the rule of parallel fifths, makes huge leaps and jumps, and delineates from tonal centers. Ridding part of an artist's role in the creative process is a practice championed by artists in the avant-garde era. It is apparent in the cutup collages of Hans Arp, the indeterminacy in Cunningham's

choreography, or the chaotic words of William Burroughs. The sonification process of Fundamental Differences allows me to shred some sort of my own “composer's ego.”

That is not to say Fundamental Differences is void of human emotion. On the contrary, because of the neutrality of the data (it is more or less numbers in grids), the intention, location and the purpose of the data collection, becomes the crux of the work.

The five datasets that were collected by Keith range from the quotidian to the esoteric data of the city. To me, these data belong on different axes and extend in different directions

radially, expanding and broadening our understanding of the zeitgeist. Moreover, each dataset constitutes its own musical universe, manifested in each movement's contrasting sonic and textural qualities.

I am merely an interpreter: each note and sound you hear is directly or indirectly dictated by the collected data, which in turn, creates a multitude of musical situations that contribute to the grand mise-en-scene. And this process allowed me to create a piece that is truthful to the situation and helped explain my lingering emotions.

Composer Statement of Fundamental Differences

© Carol Lau

Alain Chiu

Dimensions is co-presented by new media artist Keith Lam, composer Alain Chiu and Cong Quartet. Originally a live performance, this performative installation concert was staged online due to the pandemic. Not satisfied as a director, Keith Lam applied animation and Lidar postproduction to the concert, allowing Cong Quartet to interpret Alain's new work Fundamental Differences and George Crumb 's Black Angels in a brand-new approach.

In a chaotic and turbulent monochrome dimension, the sounds of the piano are exciting yet murmurous. The idea of Shuffle Dimensions is derived from philosopher Jean Baudrillard's "hyper-reality" concept, a vision behind the prevailing "metaverse". His controversial book, The Gulf War Did Not Take Place, explores the indefinite boundary between virtuality and reality. Most of the battle scenes were shown on TV. The question is, were they real or staged? Similarly, we are used to video conferencing now, but do you know if the person you see is virtual or real? "I don't have to do the show in such a way because everyone knows what virtual is." Keith Lam laughs.

Lam originally intended to

Interview with Keith Lam and Cong Quartet

immerse the audiences in this art installation with music, immersing them in a chaotic world with multiple dimensions. But the pandemic disrupted his plan, and he had to rearrange the show that was about to be put on stage, and transform it into a pre-recorded performance. He also turned himself from a theatre concert director to a "film director". "I used to be a performative installation director. It's very challenging to direct a whole music video now." Fortunately, he studied animation at university before and he was able to combine live shooting and animation in the video production.

The video also incorporates laser images by using Lidar scanning to present different

parts of Hong Kong, including Central, Causeway Bay, Tai Mo Shan and more. "In this second, the members of the Cong Quartet appeared in a real location, but in the next second, they were shuffled to nowhere."

At the same time, data on the brainwaves, heartbeats and muscle textures of the members of Cong Quartet were recorded. All information, including the weather data of Hong Kong at various historical moments, was sent to composer Alain Chiu for music composition. "These significant days include Typhoon No. 10, the change of the Chief Executive's term, and Hong Kong's handover."

The second piece, Black Angels, was written by the famous contemporary composer George

Crumb during the Vietnam War and is known to be highly demanding of musicians. Cong Quartet violinist Francis Chik recalled that they had spent a few months experimenting with different instruments, such as testing glasses of different shapes by using optimal amounts of water to play the best sound with the strings.

The entire piece is replete with imagery of Satan, the Devil, and the terrifying notes recall the horrific scenes of wartime hell. Violist Evan Robinson once described it as "the creepy music that ridicules those who died in the war. It’s also a requiem healing the wounds after the destructive melody." Black Angels was written during difficult times, and cellist Cheng Yan-ho

believes that audiences can feel the soul of the music and rethink history, even if performers cannot change the world.

Regardless of whether it's due to the pandemic or the turbulence in the world, chaos may be inevitable. Shuffle Dimensions has also gone through twists and turns before it can be launched as it is today. Although we have to accommodate this situation passively, Lam hopes to convey a positive attitude through his artwork. "Symbiosis is what I want to achieve. I don't mean to embrace the chaotic moment, but to be able to live with it and find your niche in times of trouble."

Interview with Keith Lam and Cong Quartet

©Martin Cheung

Text

Rebecca Lee, HKAF Assistant Editor

有些樂曲是我第一次聽見就愛 上，但到第三次就開始不是味 兒； 有些卻是初聽之下會覺得 「甚麼嘛？」但到頭來變成狂粉 （我聽巴托的經歷就是這種)。 還有第三類音樂，它會引起本 能反應，每次重聽，音樂面貌 會逐漸顯露，《黑天使》便屬 於這類。 克倫姆先後在西維珍妮亞州、 伊利諾伊州和德國研習音樂， 之後才回到美國，入讀密西根

州大學， 1959 年獲頒音樂博士 學位。克倫姆與賓夕凡尼亞州

大學合作多年 ； 我現時則在該 校擔任室樂系總監 ； 雖然克倫 姆在我到任前已退休，但他對 學校影響深遠。此外，他獲獎 無數，包括普立茲獎、一項格 林美獎、傅爾布萊特獎學金、 洛克菲拉資助金、福特資助金 以及古根海姆獎學金等。 他創作《黑天使》時，美國正 面對巨大的社會動盪與越戰 的創傷，按他的構思，樂曲 是「一個關於紛亂當代世界的 寓言」。 克倫姆近年寫道:「樂曲已差 不多四十歲了，但我還記得寫

日子，而且蔓延全國的示威同 時發生，美國出現了全新的面 貌，也跟這一切有點關係。」 我十四歲時第一次聽見《黑天 使》，還是在參加音樂夏令營 的時候。晚上我們睡覺後， 老師還在工作 ； 可是我們聽見 可怕的聲音穿過森林而來 ； 直 到現在，我都認為那是聽過的 樂曲中最恐怖的一首。克倫 姆把樂手身心都推到極限。 有時，藝術需要探索未知的領 域——這些領域原本都寧可不 見天日。

「善」與「惡」的象徵是貫穿每 個小節的主線，有時甚至整個 樂章都清楚明白地代表「善」 與「惡」。

第六樂章〈淚水的帕凡那舞曲〉 (「帕凡那舞曲」是十六世紀一 種慢速舞曲)引用了舒伯特《死 亡與少女》中的一大段，但改 編成中世紀風格，帶有早期教 會音樂的遺風。這與樂曲裏裏 經常出現的「魔鬼的顫音」形 成鮮明對比。「魔鬼的顫音」本 身則是引用巴格尼尼： 他生 前就有許多人懷疑他與魔鬼有 約，令自己的技巧高超得前

信裏提及莎士比亞，但樂譜上 沒有。馬勒《第三交響曲》原 本每個樂章都有描述式標題， 但後來也全部刪去。即使更抽 象的音樂，也可能與其他意念 息息相關——詩作、風景，至 於其他，就讓聽者自行領悟箇 中關聯。」 音樂史上沒有像《黑天使》一 樣的作品。聆聽時可能很揪 心，但也很深刻、很屬靈。樂 曲關於「善」與「惡」，說的不 是掙扎，因為兩者根本並存。 撰文 ： 大衛．楊 紐伯里波特室內樂音樂節 藝術總監 原刊於紐伯里波特室內樂音樂 節網頁，獲准轉載。

I love some music the first time I hear it, but then it starts to sour by the third time. Other music I hear and think “Huh?”, but eventually become a fanatical convert (Bartók was once like this for me).

There is a third category of music that causes a visceral reaction and continues to reveal itself every time you hear it. Black Angels fits in that last category for me.

George Crumb studied music in West Virginia, Illinois, and Germany before returning to study at the University of Michigan, from which he received his D.M.A. in 1959. He has a long association with the University of Pennsylvania, where I am Director of the Chamber Music Department, and casts a huge shadow despite retiring before I arrived. He received the Pulitzer Prize, a Grammy Award, a Fulbright Scholarship, Rockefeller and Ford grants, Guggenheim Fellowship, and numerous other awards.

Black Angels was written at a time when the USA was convulsed by tremendous social upheaval and the trauma of Vietnam. He conceived the work "as a kind of parable on our troubled contemporary world”.

Crumb wrote later in his life: “It’s more than 40 years old now, but I remember that it was a very difficult piece to write. I think that the upset in the world found its way into the music, which happens so frequently. There are many works throughout music history

that are reactions to political events, but in this case it kind of crept up on me. At a certain point, I realised that it was becoming a reflection of a lot of the anxiety and uncertainty of those days. It was a pretty bleak period. And that coincided with all of the protest movements around the country, which kind of led to a whole new kind of America.”

I first heard Black Angels when I was 14 at a summer music camp. The faculty worked at night after we were in our bunks and through the forest we heard horrifying sounds; it remains the most terrifying piece of music I know. Crumb pushes the musicians to their physical but also spiritual limits. Sometimes art needs to explore regions that prefer to remain beyond the light of day.

The symbolic presence of Good and Evil is a thread that runs through every measure, sometimes represented overtly in entire movements.

The sixth movement, Pavana Lachrymae (a pavana is a slow 16th century dance, lachrymae means “tears” in Latin) contains an extensive quote from Schubert’s “Death and the Maiden” rendered in a Medieval style reminiscent of early church music. This contrasts with the abundant use of the “Devil’s Trill” throughout the piece, a reference to Paganini, suspected by many of his compatriots to have made a pact with the devil in order to play

at a level of virtuosity the world had never witnessed.

The numbers 3, 7, and 13 take on a special significance in the proxy war for Good vs. Evil. Black Angels is arranged in an arch-like design of three large “Threnody” sections (a “threnody” is a lament).

Crumb himself had this to say about numerology in Black Angels: “Yes, this business of 7s and 13s came into the music. It was more technical, structural. I got carried away with the Friday the 13th thing. I think it is important in all music. Beethoven doesn't give us all of what's in his mind. There are references to Shakespeare in his letters, but not in the score. Mahler's Third originally had descriptive titles for all of the movements, but he dropped them. Even more abstract music is probably connected with other ideas—poetry, landscapes, and other things. [It's better to] let the listener make the connections.”

There is nothing like Black Angels in the history of music. The experience can be deeply harrowing yet profoundly spiritual. The piece is about Good and Evil; not the struggle so much as that they coexist.

Originally published on the website of Newburyport Chamber Music Festival. Used by kind permission.

Text: David Yang Artistic Director of Newburyport Chamber Music Festival

Can you first tell us about your collaboration with Keith Lam and Cong Quartet?

Chiu: Shuffle Dimensions is my first creative project with Keith. We share similar perspectives and an interest in exploring the vague spaces between reality and illusion, so we hit it off from the beginning. We often discuss when to input “real” (i.e. actual music) or “unreal” data (i.e. the sound of body movements) into the composition. The ambiguity could be confusing to many, but to look at things from an artist’s perspective, if everything we thought we knew is not actually true, then anything is possible. Creators then have the perfect conditions to actualise their own truths.

As for Cong Quartet, we always have a great time playing music; this is already our fourth collaboration. They are not only professionals in classical music, but also open to new experiments in contemporary music. We have such trust in one another that we start our projects a bit cluelessly and figure out things along the way, challenging our creative boundaries and getting out of our comfort zones.

You have used various sets of data in your composition, for example, the biometric data of the Cong Quartet. Can you explain exactly how data sonification works?

Chiu: Each piece of data represents a texture. The texture combines different musical elements and weaves everything into a composition. The term “data” makes me sound like a scientist, but I’m not. I start by creating a mapping system, such as correlating certain data (such as temperature, humidity, etc.) with a musical note or dynamics.

Keith also gave me atmospheric data of significant historical years in Hong Kong, including 1984, when the Sino-British Joint Declaration was signed, and the 1997 Handover of Hong Kong. I often ask myself, “What does this data represent?” or “What does the day mean?” I realised I just needed to use the data to explain inexplicable emotions.

Due to pandemic restrictions, Shuffle Dimensions switched its format from an immersive live concert to video format. Have the pandemic and the changes in recent years affected your compositions? Do you see the changes as a restriction or an opportunity?

Chiu: For the original performance, the audience was to see everything happen before their eyes in real time, feel the atmosphere within the space, and experience the entire happening. Supposedly, I would capture Cong Quartet’s biometric data, including their brain waves, and turn that into music. Now that we have shifted from a physical space to a video, the elements are more fixed as the sounds were captured during the recording sessions. I would have preferred to have the live performance, but the video format is the birth of something new nevertheless.

The pandemic and external environment have changed me a lot. It is a “shuffled” reality that we are living in. To most people, it is a time of restriction, but ironically, I became more daring. I realised the fear that used to be within me dissipated as I gradually looked at things from simpler perspectives.

Text Elaine Ko, HKAF Editorial Intern

©Carol Lau

Keith Lam is the co-founder and Artistic Director of new media art studio Dimension Plus, and the founder of composite space “openground”.

His works have won several awards at international arts festivals, including the worldleading arts festival Prix Ars Electronica and the Japan Media Arts Festival. His works have been exhibited around the world and collected by museums. Also committed to new media art education, Lam teaches, consults and serves as an associate professor at various universities and institutions with the aim of promoting digital fabrication in art.

© Carol Lau

ALAIN CHIU

Composer

and sound artist

Alain Chiu's body of work sits firmly at the juncture of contemporary music, sound art and multimedia art. It ranges from traditional music, sound installations and experimental musical theatre to virtual reality videos and video installations.

Chiu has received commissions from the West Kowloon Cultural District Authority, the Hong Kong Sinfonietta, the Hong Kong Arts Festival, and Sotheby's Hong Kong, among many others, and his music has been performed at the Hong Kong Arts Festival, the Cannes Film Festival, and Guggenheim UBS "No Country: Contemporary Art for South and Southeast Asia".

Chiu is the founder of the Trilateral Lab, an experimental performance collective. The Lab is dedicated to challenging the existing form and structure of the performing arts. Its inaugural performance, Never Seen, was premiered in 2017 at the Adelaide Fringe Festival to rave reviews.

Chiu received his Bachelor of Music degree in composition at the San Francisco Conservatory of Music with the Samuel Clarke Scholarship. He is a recipient of the Schulich Scholarship and was also a finalist at the International Music Prizes for Excellence in Composition.

His music was recorded by the Grammy Award-winning ensemble Orchestra of Our Time in 2011. He served as a teaching artist at Contemporary Musicking in Hong Kong and is the author of Sound Brood: An Interdisciplinary Approach in Sound and Music.

© Carol Lau

George Crumb (1929–2022) was an American composer of avantgarde contemporary classical music. He is recognised the world over as one of the 20th century's most adventurous and exceptional composers, and was the winner of a Grammy Award and the Pulitzer Prize. A member of the "New Virtuosity" movement, Crumb developed an expansive musical palette noted for its emphasis on extended instrumental and vocal techniques, its rich and sophisticated musical allusions, an evocative theatricality, and a poet's sense of sonorous detail. After studying at various schools in the American Midwest and Berlin, in 1965

he joined the faculty at the University of Pennsylvania, where he composed and taught for 32 years. His highly intuitive approach to composition, with its emphasis on texture, timbre, and line, bore substantial fruit during the '60s, including the Madrigals (1966-1969), Eleven Echoes of Autumn (1965), and, inspired by the Apollo 11 lunar landing, Night of the Four Moons (1969). One of his best-known pieces, Black Angels, came in 1970 and uses a dizzying arsenal of extended techniques to evoke a surreal soundscape of the Vietnam War. Crumb continued composing until very late in life and he died at his home in Pennsylvania on 6 February 2022.

© Steven Pisano

CONG QUARTET

Yan-ho

Formed at the Indiana University Jacobs School of Music in 2015, Cong Quartet has performed around Asia, Europe and the United States, and believes that the humanistic experience of chamber music is a treasure to the community. It was the ensemble-in-residence at the Chinese University of Hong Kong from 2019-2022, a young artist group of the Musethica in Europe, as well as a quartet at the Netherland String Quartet Academy in Amsterdam. Cong Quartet was awarded the Adolf Betti Award at the Virtuoso & Belcanto’s Chamber Music Competition in Italy in 2022, the Grand Prize at the 2019 Salzburg Mozart International Chamber Competition in Tokyo, and the second prize at the 2021 Kreutzer International Music Competition. Members of the quartet have participated in numerous quartet seminars, including the Juilliard String

Quartet Seminar and the Robert Mann String Quartet Institute in New York, The Ashkenasi/Kirshbaum Chamber Music Seminar of The Heifetz International Music Institute, the Intensive String Quartet seminar at Music Academy Hörpu in Iceland, and the Ozawa International Chamber Music Academy in Japan, etc. Recently, the members were also performers and guest judges at major events like the New Generation 2019 call-for-score competition of Hong Kong Composers' Guild.

Evan Robinson

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Consulate General of Chile in Hong Kong 法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau 以色列駐香港總領事館

Consulate General of Israel in Hong Kong & Macau 西班牙駐港澳總領事館

Consulate General of Spain in Hong Kong and Macao 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong 捷克共和國駐香港領事館

Consulate General of the Czech Republic in Hong Kong 伊朗駐香港總領事館

Consulate General of the Islamic Republic of Iran in Hong Kong 荷蘭王國駐港總領事館

Consulate General of the Kingdom of Netherlands 老撾駐香港總領事館

Consulate General of the Lao PDR in Hong Kong 俄羅斯駐香港總領事館

Consulate General of the Russian Federation in Hong Kong SAR, PRC

好青年荼毒室 Corrupt the Youth 愉景灣溜冰場 DB Ice Rink

Die Konzertisten

拔萃女書院 Diocesan Girls' School

香港荃灣帝盛酒店 Dorsett Tsuen Wan, Hong Kong

香港灣仔帝盛酒店 Dorsett Wanchai, Hong Kong

香港旺角帝盛酒店 Dorsett Mongkok, Hong Kong

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong 六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

H6 CONET

快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會

Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂系 Department of Music

拉闊文化 Cultural Literacy Programme

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

香港公共圖書館 Hong Kong Public Libraries

香港旅遊發展局 Hong Kong Tourism Board

香港海事博物館 Hong Kong Maritime Museum 摩納哥駐香港名譽領事館

Honorary Consulate of Monaco in Hong Kong 登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department 香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong 海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong JellyBin Limited 賽馬會創意藝術中心 Jockey Club Creative Arts Centre 高山劇場 Ko Shan Theatre 九龍木球會 Kowloon Cricket Club Kubrick

葵青劇院 Kwai Tsing Theatre 光華新聞文化中心

Kwang Hwa Information & Culture Center 香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong 拉脫維亞駐香港名譽領事館

Latvian Honorary Consulate in Hong Kong 康樂及文化事務署

Leisure and Cultural Services Department 中央人民政府駐香港特別行政區聯絡辦公室

Liaison Office of the Central People's Government in the HKSAR 嶺南大學 Lingnan University 黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit 馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC Mission Production Company Ltd 李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

柏斯琴行 Parsons Music Limited

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW

Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

泰國駐香港總領事館

Royal Thai Consulate General Hong Kong

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall 618 上海街 618 Shanghai Street

邵氏影城 Shaw Studios

上環文娛中心 Sheung Wan Civic Centre

信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd.

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

大館 Tai Kwun

台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

天開數碼媒體有限公司 TFI Digital Media Limited

藝林文具印刷有限公司 The Artland Co Ltd

香港八和會館 The Chinese Artists Association of Hong Kong 香港中文大學 The Chinese University of Hong Kong

音樂系 Department of Music

聯合書院 United College

文學院 Faculty of Arts

藝術行政主任辦公室 The Office of the Arts Administrator 文化及宗教研究系 Department of Cultural and Religious Studies

香港城市大學 The City University of Hong Kong 中文及歷史學系 Department of Chinese and History 城大創意媒體學院 School of Creative Media

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library

梅夫人婦女會 The Helena May 香港演藝學院

The Hong Kong Academy for Performing Arts 戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music 舞蹈學院 School of Dance 電影電視學院 School of Film and Television 學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit 場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir 香港科技大學

The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 中環石板街酒店 The Pottinger Hong Kong

The Swiss Chamber of Commerce in Hong Kong Limited 香港大學 The University of Hong Kong

音樂系 Department of Music 香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

志新學院 Chi Sun College

港青 香港基督教青年會 The Salisbury YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局 West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

油麻地戲院 Yau Ma Tei Theatre

青年廣場 Youth Square

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

贊助人 李家超先生

永遠名譽會長 邵逸夫爵士 執行委員會

主席 查懋成先生 副主席 盧景文教授 義務司庫 范高廉先生 委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授 委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 李　義法官 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生

發展委員會

主席 鄭阮培恩女士 副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 姚祖輝先生

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

PHONE 2824 3555 傳真 FAX 2824 3798 / 2824 3722 地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

John KC Lee, GBM SBS PDSM PMSM

Sir Run Run Shaw, CBE (1907-2014)

Mr Victor Cha Vice Chairman

Chairman

Prof Lo King-man, SBS MBE JP

Mr Colin Farrell Members

Honorary Treasurer

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Prof Lo King-man, SBS MBE JP Members

Prof Giorgio Biancorosso

Prof David Gwilt, MBE

Mr Peter C L Lo

Prof Fredric Mao, BBS wv

The Hon Mr Justice Ribeiro

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Mr Colin Farrell Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Betty Yuen Cheng Vice Chairman

Ms Jane Yong Members

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Mr Andrew Yao

夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打） 核數師 羅兵咸永道 會計師事務所

顧問

ADVISORS

The Hon Ronald Arculli, GBM GBS JP

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon Charles Y K Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David K P Li, GBM GBS OBE JP

Ms Gabriela Kennedy, Mayer Brown AUDITOR

HONORARY SOLICITOR

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

節目經理 鄭佩群 廖國穎 馬筠婷 司徒頌欣

副節目經理 杜以樂

短期節目經理 游慧姿

節目統籌 陳栢琦

藝術行政見習員 容諾行

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍

物流

物流及接待經理 金學忠

技術

製作經理 梁雅芝

助理製作經理 陳梓衡

出版

編輯 Adam Wright 陳詠恩

助理編輯 李芷晴 陳劭儀

外展

外展經理 林嘉敏

助理外展經理 潘穎詩 李萬祺

外展主任 林穎茵 張凱柔

外展助理 馬曉瑩

藝術行政見習員 馮樂程

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 張予心

助理項目經理 李穎軒 譚懿諾

助理市場經理 許樂欣 曾諾怡

市場主任 林培生

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿

發展

特別發展協理 蘇啟泰 發展經理（大額捐獻） 鍾雅妍

發展經理 林思穎 譚樂瑤 吳綺菁

發展主任 鄒穎妮 譚尹晴

STAFF

Executive Director

Flora Yu Assistant to Executive Director

Connie Ho

PROGRAMME

Programme Directors

Grace Lang So Kwok-wan Programme Managers

Cathy Cheng Sophie Liao

Katie Ma Samantha Szeto

Deputy Programme Manager Tobe To Temporary Programme Manager Janet Yau Programme Coordinator Pecky Chan Arts Administrator Trainee Ryan Yung

ADMINISTRATION Programme Manager (Administration) Shirley So Programme Officer (Administration) Michelle Lam

LOGISTICS

Logistics Manager

TECHNICAL Production Manager

Elvis King

Shirley Leung Assistant Production Manager Jacob Chan

PUBLICATIONS

Editors

Adam Wright Eugene Chan Assistant Editors Rebecca Lee Shao yi Chan

OUTREACH

Outreach Manager

Carman Lam Assistant Outreach Managers

Renee Poon Kelvin Li Outreach Officer Lilian Lam Hazel Cheung Outreach Assistant Queena Ma Arts Administrator Trainee Crystal Fung

MARKETING

Marketing Director

Katy Cheng Associate Marketing Director Eugene Lo Deputy Marketing Managers Tobie Chan Stephanie Cheung Assistant Project Managers Hill Li Hades Tam Assistant Marketing Managers

Sally Hui Margaret Tsang Marketing Officer

Billy Lin

TICKETING

Marketing Manager (Ticketing) Eppie Leung Ticketing Officer Cyrus Yan

DEVELOPMENT

Special Development Associate Alex So Development Manager (Major Gifts) Fiona Chung Development Managers

Sharon Lam Lorna Tam

Joey Ng

Development Officers Chau Wing-ni Linda Tam Arts Administration Trainee Kirstie Leung Temporary Development Assistant Carol Pun

CORPORATE SERVICES

ACCOUNTS

Finance Director

Teresa Kwong Account Manager Connie To

HR & ADMINISTRATION

Human Resources and Administration Manager Janet Yeung Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong

INFORMATION TECHNOLOGY Information Technology Manager Derek Chan

NO LIMITS

Project Director

Eddy Zee Programme and Outreach Manager Becky Chung Christy Ho Programme and Outreach Coordinators

Kelvin Ho Jasmine Poon Marketing Manager

Ho Sze-wai Deputy Marketing Manager

Kaitlyn Liu Assistant Production Manager

Jess Cheung Senior Accounting Officer Catherine Chung

HKARTSFESTIVAL@TAIKWUN

Project Manager

Lap Kwong PR and Marketing Coordinator Wind Yeung