香港舞蹈總會（下稱『舞總』）於 1978 年 10 月成立，並於 2000 年改為有限公司，是本港第一個非牟利多元舞蹈社團。創會 成員為舞蹈界舉足輕重的人士，包括：陳寶珠、黎海寧、劉兆 銘、吳世勳、鄧孟妮、 鄭亞清 、 黃藝諳 及 郭世毅 等。建會以 來，一直以推動香港舞蹈發展為己任，積極保育、拓展本地的 多元舞蹈文化。現有團體會員 254 個、個人會員及會友超過 4,400 人。
舞總向來積極推廣舞蹈文化回饋社會，2018 年獲社聯頒發 《同心展關懷 10+ 》獎勵。現為聯合國教育、科學和文化組織 轄下的國際舞蹈委員會( UNESCO-CID )會員及國際舞蹈組 織( IDO )正式會員和香港地區代表。
除了『舞蹈教育培訓及考試』、『演出製作』、『外展活動』、『出 版及委約』等多元工作外，也積極參與社區活動，屢獲康文署 的場地贊助和大型活動委約以及藝術發展局的經費資助。近 年，製作之大型舞蹈詩《緣起敦煌》多次獲邀到北京參加國家 級藝術節；2019 年更獲粵港澳大灣區交流計劃支持，前往中 山文化藝術中心及廣州大劇院，參加大灣區文化交流；2021 年再獲康文署邀請於香港文化中心大劇院作第九度公演，廣 獲好評。
於 2021 年，透過舞總參與舞蹈課程考試的學生及老師超過 10,000 人次，參與各製作演出的演員人數達 4,000 人次，而 觀眾數目更達 40,000 人次。在未來的日子，舞總將延續其建 立舞蹈平台的角色，開發各式各樣惠及不同需要人士的舞蹈 課程；聯絡海內、外的舞蹈同業，提升整體藝術演出水平；並 透過豐富的社區文藝活動，積極履行社會責任，發揮舞蹈對 人民生活的影響力，貢獻社會。
Hong Kong Dance Federation Limited (HKDF), established in October 1978 and incorporated as a limited company in 2000, is the first non-profit multifaceted dance organization in Hong Kong. All founder members were acclaimed personages in the dance society, including Pearl CHAN, Helen LAI, LAU Siuming, NG Sai-fun, Tania TANG and the late CHENG Ya-ching, WONG Ngai-yum and Stephen KWOK. It has always aimed at pushing forward Hong Kong’s dance development, actively preserving heritage and promoting local cultural diversity in dance. At present the HKDF boasts a total membership of 254 group members and more than 4,400 individual and associate members.
In 2018 the HKDF was awarded the Caring Organization 10+ Logo in recognition of its dedication and efforts in dance promotion and making contributions to the society. It is currently a member of the International Dance Council, an umbrella organization under UNESCO for all genres of dance, and a member and HK representative of the International Dance Organization.
Apart from the major work and services of ‘education and examinations’, ‘productions’, ‘outreach activities’ and ‘publications and commissioned events’, the HKDF also actively participates in community activities. It has acquired venue sponsorships and large-scale commissioned projects from the Leisure and Cultural Services Department (LCSD) and received funding support from the Hong Kong Arts Development Council. The grand dance poem Dunhuang Reflections has been invited to perform at national art festivals in Beijing a number of times. Supported by the Greater Bay Area Exchange Scheme, the dance poem was staged at Zhongshan Culture & Art Center and Guangzhou Opera House in 2019. It was also invited by the LCSD to stage its 8th re-run at the Grand Theatre of the Hong Kong Cultural Centre Grand Theatre in 2021 to great acclaim.
In 2021 over 10,000 students and teachers sat for dance examinations through the HKDF and 4,000 dancers were engaged in productions with an audience of approximately 40,000. The HKDF will continue to build platforms for dance exchange, introduce dance to people from all walks of life, explore new horizons in dance performance through collaborations and exchanges with dance practitioners from home and abroad, and to fulfill its social responsibilities by enriching community cultural activities and giving full play to the influence of dance on people's lives.
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Turbulent Waves
節目開始前，請將手提電話轉為靜音模式，並關掉其他響鬧 或發光的裝置，以免影響演出。為使演出者能全情投入、不受 干擾，並讓入場欣賞演藝節目的觀眾獲得美好愉快的體驗， 節目進行時嚴禁拍照、錄音或錄影。此外，請勿在場內飲食。 多謝合作。
To avoid disturbance, please set your mobile phone on silent mode and switch off other beeping or light emitting devices before the performance. To ensure an undistracted performance by artists and an enjoyable experience for the audience, photo-taking, audio or video recording is strictly prohibited when the performance is in progress. Eating or drinking is not permitted in the auditorium. Thank you for your co-operation.
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香港舞蹈總會在過去四十年，得到政府機構及社會熱心人士 支持，透過匯演平台及各項活動支持民間舞蹈發展，讓舞蹈 老師們獲得發揮機會。可是，資源的緊絀亦限制了其發展規 模和貢獻。因此，舞總在 2016 年成立『香港舞蹈總會發展基金 有限公司』(下稱『舞總基金』)，申請成為直屬香港舞蹈總會監 管的慈善組織。其發展目標是透過各項不同性質的舞蹈公益 及教育活動，提升新一代舞蹈學員的文化素質及對社會的承 擔。主要的活動人士與香港舞蹈總會相同。
希望藉著這個慈善組織，能夠獲得更多熱愛舞蹈文化人士 的捐獻，以期進一步支持和推動香港各類的舞蹈教育活動、 舖設舞台的演創機會、對國內及海外的院校進行文化交流工 作，惠及香港市民。
舞總基金於 2019 和 2022 年成功舉辦了兩屆「舞蹈教育提升 計劃 —— 編創傳承」，透過一系列的課程和演出活動連結資 深和新晉編舞，讓資深導師總結經驗，帶領並培育有意在編 導方向發展的年青人。計劃大獲好評，參與的新晉編舞獲益 良多。其創編的節目各有特色，成效可見。
舞總基金亦曾支持多個項目，包括：2017 年『一帶一路敦煌文 化藝術交流之旅』、《緣起敦煌》於本港及粵港澳大灣區多次 重演；『世界舞蹈日』、『紫荊盃舞蹈大賽』、『香港街舞公開賽』 等。近年更頒發多個獎學金，鼓勵優秀舞者提升個人水平。
Over the past forty years, under the auspices of government departments and ardent donors, Hong Kong Dance Federation (HKDF) has supported community dance development by providing dance teachers with performance platforms and various activities for making full use of their potential. But the tight resources have hampered its development and achievement, resulting in the need for the inception of Hong Kong Dance Federation Development Fund Limited (HKDF Fund) in 2016. The HKDF Fund is directly monitored by the HKDF. It targets at enhancing new generation’s cultural qualities and social responsibilities through different kinds of charitable and educational activities in dance; and its major participants are in sync with those of the HKDF.
It is the HKDF’s wish to obtain donations from dance lovers via this charitable organization and thereby further support and promote educational activities in dance, offer opportunities for stage performances and creations, and encourage cultural exchanges with the mainland and overseas academies, bringing benefits to Hong Kong citizens.
The HKDF Fund launched a ‘Dance Education Enhancement Scheme on Choreography Inheritance’ respectively in 2019 and 2022. The two courses brought experienced and emerging choreographers together by means of a series of lessons and a dance showcase so that experienced mentors could lead and nurture young dancers whose direction of development was choreography with their experiences. The schemes were highly acclaimed. The emerging choreographers learned a lot, and their creative works of individual characteristics demonstrated their effectiveness.
The HKDF Fund has supported events including ‘One Belt One Road Dunhuang Cultural and Artistic Exchange’ of 2017, the reruns of Dunhuang Reflections in Hong Kong and Greater Bay Area, World Dance Day, Bauhinia Cup Dance Championships, and Hong Kong Street Dance Championships. In recent years it has also awarded scholarships to outstanding dancers to encourage them to improve their personal levels.
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藝術總監的話 Message from the Artistic Director
中華文化博大精深，其中「非物質文化遺產」佔據了十分重要 的地位。其發展延續數千年，飽經歷史的考驗，致使「非物質 文化遺產」遍佈全國各地，其中如「英歌」舞就是極好的例證。
雖然我們無法查證「英歌」舞起源於那個歷史時期，但它確 是年代久遠。因戰亂或天災，中國北方的鄉民們，幾經艱難險 阻，南遷至廣東。這些流徙的鄉民們帶來了他們編創的精神
食糧 —— 英歌舞。
舞劇「水不揚波」主要表達的不是英歌舞本身，而是以英歌 的歷史符號頌揚舞動英歌的人、他們所代表的團結和奮鬥精 神，以及歷盡艱辛後重新團聚的親情。
英歌舞豈止是鄉民的一支舞蹈隊伍？它鮮活地體現了嶺南人 和海之南的香港人的愛國和家園情懷。
我想通過舞劇「水不揚波」的演出，能傳達出一種訊息。我們 要加深對中國文化中「非物質文化遺產」的關注認識和愛護， 共同為中華文化的傳承和創新作出努力﹗
Intangible Cultural Heritage occupies a very important position in the broad spectrum of Chinese culture. Through development for thousands of years, intangible cultural heritage items spread all over the country and Yingge is a good example. The exact origin of Yingge cannot be ascertained. However, there is no doubt about its very long history. Compelled by wars or natural disasters, villagers from north China have migrated to Guangdong. Through hardships and difficulties these migrating villagers have brought with them Yingge as their spiritual support.
The grand dance drama “Turbulent Waves” does not focus on the Yingge dance itself. It aims to glorify those who engage themselves in the promotion of Yingge and its unifying and vigorous spirit. It also celebrates the affection of congregation after hardships.
The Yingge dance is not only a village dance troupe. It reflects the patriotic love and family affection of the people of Lingnan and Hong Kong, at the tip of the Pearl River estuary.
I wish to relate this message through the presentation of “Turbulent Waves”. We should enhance our understanding of the intangible cultural heritage of China, to protect and preserve them for the promotion of Chinese Culture.
冼源 SIN Yun
編劇的話
宋蘇軾《定風波・南海歸贈王定國侍人寓娘》
蘇軾因“烏台詩案”被貶湖北黃州，其友王鞏（定國）受其牽連，被貶謫到嶺南道的廣西賓州；他的歌妓柔奴（寓娘）與之隨行。宋代 嶺南道仍屬荒僻之地。元豐六年（公元 1083 年），王鞏北歸，柔奴為蘇軾勸酒，曾經同屬被貶天涯的流人，蘇軾問及嶺南蠻荒之地， 風土應是不佳吧？柔奴回答說：此心安處，便是吾鄉。（有意中人相伴無論去到那裡，都會覺得心安，那裡就是家鄕了。） 古代貶官，流落於偏遠荒蕪之地，多有病死者。蘇軾晚年被貶海南，最大心願便是死前能夠北歸。其徒與他並稱蘇黃的書法家、詩 人黃庭堅被貶廣西宜州，結果於當地病死。與黃庭堅並稱蘇門四學士的詩人秦觀被貶廣東雷州，於放還途中病故。更早時期，韓愈 被唐憲宗貶至廣東潮州，流放途中遇到韓湘，所贈詩中不相信自己能夠有命回鄉：“雲橫秦嶺家何在，雪擁藍關馬不前。知汝遠來 應有意，好收吾骨瘴江邊。”達官貴人南遷尚且有此悲情遭遇，更何況是扶老攜幼逃避戰亂天災的難民？ 秦嶺是中國地理南北分界的山脈。連綿甘肅至陝南的秦嶺山脈與淮河連線，劃分了北方的黃河流域和南方的長江流域，大致是中 國一月份零度等溫線。南北降雨量不同，南方耕作以水稻為主，北方則以種植耐旱的小麥為主，以致南北飲食、衣著、風俗和生活 習慣都有很大的差異。
在數千年的歲月裡，因為朝代興替、外族侵凌和戰禍天災，每每逼使人民離鄉別井，到處流徙，以尋求安身立命之所。一波一波的 流人都要面對異域的生活環境、資源的爭奪與民風不同的沖激，但卻時刻緬懷著對故鄉的思念和對祖宗的不朽崇敬。潮州流人也 帶着團結族人的英歌。
“萬里歸來顏愈少。微笑，笑時猶帶嶺梅香。
試問嶺南應不好？卻道：此心安處是吾鄉”
5
英歌這種民間舞，是經過長時間醞釀和多方面吸收才定型的。英歌在潮汕之間於明末清初時期開始流行。這種非物質文化遺產舞 蹈，演員造型取材自小說《水滸傳》的梁山好漢，角色畫花臉及穿上仿古鮮明服飾，深受舞台戲曲影響。音樂以大鼓和鑼鈸為主，現 場演奏，地動山搖，充滿英雄氣慨。我們專誠拜訪普寧南山英歌隊的團長陳來發老師，他是國家級非物質文化遺產代表性傳承人。 南山英歌隊的演練保留了《水滸傳》進攻大名府古城監獄以拯救盧俊義和石秀的故事。英歌演出陣列包括下山打探、興師出戰、急 水渡泊（梁山泊）、乘機闖府（大名府）、救盧（俊義）出府、英雄會師、歡慶勝利、凱旋歸山等情節。
大名府城，北宋時稱為北京，今在河北省邯鄲大名縣。但《水滸傳》只是明末清初施耐庵( 1296-1370 )的虛構小說，雖然《宋史》有記 載，於宋徽宗三年( 1122 年)“淮南盜宋江等犯淮陽軍，遣將討捕。又犯京東(今山東)丶江北丶入楚海周界，命知州張叔夜招降之。”
根據《水滸傳》的情節，是趁正月十五元宵節，官民戶戶張燈結彩慶祝的時機，時遷和梁山好漢化妝潛入大名府城內，時遷以火燒 翠雲樓為號，裡應外合進攻救人的。所以在內地農村，一般都在農曆新年至元宵之間跳英歌舞慶祝。
據 2019 年文化部門調查，普寧共擁有近一百多支英歌隊，遍佈農村、山鄉和市區街道。普寧市民均熱心於英歌的傳承和發展，從小 學開始已組織英歌隊的訓練，真無愧是英歌之鄉。英歌由潮籍人士帶到香港，於天后誕巡演，更於 2014 年入選為香港的非物質文 化遺產。
天后相傳是福建莆田湄洲島人，原名林默，暱名媽祖及娘媽，生於北宋建隆元年（公元 960 年）。父親是海巡官員。林默長大後善觀 天象，能預測天氣變化，救了不少出海的漁民。元代尊稱她為天妃，清康熙初年更封她為天后，帶著國人對她能致風調雨順和國泰 民安的祈望。相傳於海上危難時呼喚媽祖，她因未及穿戴天后朝服，便即以披髮紅袍之身降立於船桅上，大放紅光使水不揚波，拖 船脫險。2009 年 10 月，媽祖信仰入選聯合國教科文組織人類非物質文化遺產代表作名錄。 《水不揚波》舞劇就是一齣將時光壓縮了的流人之歌。不聚焦那一個時代，也可能是代表著每一個年代。男主角帶著族人南遷，背 負著全族生死存亡的重擔，從內陸的北方地區，經長年累月的險途，遷徙至瀕海的潮汕及香港，面對海洋文化的沖激。他們也許是 唐代韓愈被貶潮洲的後裔，或許是宋末文天祥最終於潮州抗元慘敗的遺民。他們帶著祖宗相傳以維繫鄉情的英歌，落戶於新界瀕 海的元朗平原。每年三月廿三天后誕，鄉民就齊集大樹下天后古廟參拜，並在元朗市區街道巡演英歌。戰鬪格局的花臉英雄戰歌武 舞，卻在慈愛化身的天后眷顧下巡演，這就突顯香港海洋文化的包容性，海納百川，有容乃大，天后慈愛，使不同族群都能夠和睦 共處，安身立命，繼續繁衍。
大明永樂（1403-1424）年間，鄭和帶領著當年世界上最龐大的艦隊，七次下西洋以宣揚國威和友誼。他的主艦內定必供奉著天后 神位，恩威並濟，將天后信仰廣泛傳播於東南亞各國。
今天，我們的海軍艦隊，更遠赴深藍的海洋，就像本劇終場的英歌啟航，願我們帶著媽祖的慈愛包容胸懷，與英歌的團結奮進精 神，再上征途。
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Message from the Playwright SONG OF VAGRANTS
Caught in the political struggle between two factions at court the famous Song dynasty poet Su Shi (1037-1101) was banished to exile to Huangzhou, Hubei province. His friend Wang Gong was also banished to Binzhou, Guangxi province in the Lingnan District. The area, covering the present Gangdong and Guangxi provinces, was then a remote and primitive region. Wang was accompanied by his maid on exile. In 1083, he was pardoned and he returned north to meet Su Shi. In a gathering Su Shi was amazed to observe that Wang’s maid looked even younger after the ordeal, wearing a smile with fragrance of Lingnan flowers. He wondered why because the living conditions in Lingnan should not have been nice. She replied: “ My home town is where my heart feels at ease.”
In the old days, court officials often died of sickness in remote exile locations. At an old age Su Shi was again banished to Hainan Island. His greatest wish then was to be able to return to the north before his death. His disciple Huang Tingjian (1045-1105) was banished to Guangxi province and he died of sichness in exile. Another scholar Qin Guan (1049-1100) was banished to Leizhou, Guangdong province and he died of sickness at the return journey. In the Tang dynasty (618-907), the great scholar Han Yu (768-824) was banished to Chaozhou, in the coastal district of Guangdong. On route he met his cousin. He exclaimed that after passing the Qinling mountains he had lost sight of his home. He hoped that his cousin would collect his bones eventually beside the foggy river. It was pathetic even for high court officials turned vagrants in the remote south. It would be more tragic for families of the common folk compelled by war or natural disasters to migrate.
The towering Qinling mountain range is a dividing line between the north and south of China. It extends from Gansu to the south of Shaanxi province. In line with Huai river, it separates the Yallow River basin on the north and the Changjiang basin on the south. It marks the zero degree temperature line in January. Rain fall is more abundant in the south where rice is grown. In the less humid north, wheat is cultivated. Therefore, there are great differences in diet, clothing, customs and living conditions between the north and the south.
In the long history of China, dynastic changes, foreign invasions, wars and natural disasters all compelled inhabitants to become vagrants for survival. They would face the impact of different living environments, competition for scarce resources and different customs. However, they would carry with them fond memories of their home towns and everlasting respect for their ancestors. Chaozhou vagrants brought with them Ying’ge, an heroic folk dance to unite their clansmen.
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The folk dance Ying’ge (literally, Heroic Dance) took shape from a mixture of sources and became popular in the Chaozhou area by mid-seventeenth century onwards. This dance of intangible cultural heritage took inspiration from heroic figures portrayed in the fiction novel “Water Margin”. Dancers painted their faces and wore dramatic costumes inspired by Beijing opera. Rhythm played on a large drum accompanied by percussion instruments would vibrate the air. The dance moves were powerful and heroic. We made a special study visit to Puning, Chaozhou to interview Mr Chen Laifa, the state-level intangible cultural heritage representative. He is the Director of the Nanshan Ying’ge Dance Troupe. The repertoire of the Troupe still retain the Attack on Daming City to rescue two comrades, based on “Water Margin”. Episodes like Descending and Searching, Military Formation, Crossing Turbulent Waves, Attacking Daming City, Rescuing Comrades, Rejoice for Victory and Triumphant Return are all performed in the dance programme.
The old Daming City is still preserved at Handan district, Hebei province to-day. “Water Margin” is only a fiction novel written by Shi Nai’an (1296-1370). However, in the Offical History of the Song dynasty, it was recorded that in the year 1122, Song Jiang, the gang leader was causing trouble in Henan and Shangdong provinces and should be suppressed. According to “Water Margin” the attack of the Daming City took place on the fifteenth night of the lunar new year when official buildings and domestic homes hoisted lanterns to celebrate. Members of the Liangshan gang would dress in different trades to enter the city in advance. Shi Qian, the scout, would set fire to an entertainment building as a signal for the synchronized attack. As a tradition in villages, Ying’ge was performed as part of the lunar new year celebration in the mainland.
According to a government survey done in 2019 in Puning, there were more than one hundred Ying’ge dance troupes spreading over villages, mountain regions and city street zones. Citizens of Puning are enthusiastic about the preservation of the Ying’ge dance heritage and its further development. Dance training in Ying’ge starts from primary school onwards. Puning is really the home for Ying’ge. The dance was introduced by Chaozhou immigrants into Hong Kong and performed during the Tin Hau (Queen of Heaven) festival. Ying’ge was admitted an item of intangible cultural heritage in Hong Kong in 2014.
Legend had it that Tin Hau was born in 960 in the Northern Song dynasty. She was a native of Meizhou Island, Putian district, Fujian province. Her name was Lin Mo but she was affectionately called Mazu or Niangma (literally “mother”). Her father was a marine patrol official and she grew up with the ability to observe and predict the weather. She was revered for saving fishermen at sea. She was ordained the Concubine of Heaven in the Yuan dynasty (1271-1368). In the early years of the Kangxi reign (1662-1722) of the Qing dynasty she was ordained Queen of Heaven with the hope of the nation to bring fair wind and rain, prosperity and peace. It was believed that when her affectionate name was called in an emergency at sea, she would respond immediately. Wasting no time to put on her formal queen’s attire she would descend on the top of the main mast, dressed in a red robe with her hair loose. She would project red beams to calm turbulent waves and pull the ship to safety. On October 2009, the worship of Tin Hau was admitted in the intangible cultural heritage list of UNESCO.
“Turbulent Waves” is a grand dance drama on vagrants of compressed time. It does not focus on a particular period though it may represent any particular time. The main protagonist is leading his clansmen on a south-bound migration. He carries the heavy responsibility for the safety of his clan. They have ventured from the northern mainland through months of precarious adventure to the coastal regions of Chaozhou and Hong Kong. They would confront the impact of an unfamiliar ocean culture. They may be the descendants of Han Yu of the Tang dynasty (618-907) who was banished to exile to Chaozhou. Perhaps they may be the followers of the patriotic Wen Tianxiang (1236-1283) who fought against the Mongol invaders in Chaozhou. Eventually the Chaozhou clansmen migrated to the coastal plain of Yuen Long and preserved Ying’ge dance which bound the clansmen together. Every year at the Tin Hau festival on the twenty-third day of the third lunar month the clansmen would gather to worship at Tin Hau temple before performing in a procession through the streets of Yuen Long. The heroic war dance was performed under the patronages of the merciful Tin Hau. This demonstrates the inclusive character of the oceanic culture of Hong Kong. Like the sea accepting all streams, the kindness and mercy of Tin Hau inspire harmony among different ethnic groups making Hong Kong their permanent home. In the region of Yongle (1403-1424) of Ming dynasty, Admiral Zheng He (1371-1433) led the world’s largest fleet on seven voyages to south-eastern Asian countries to demonstrate friendship and the power of China. His flagship cabin would carry an altar of Tin Hau to protect his fleet at sea. Many Tin Hau temples were built among Chinese communities in overseas countries owing to his devotion.
To-day, our naval squadrons venture into the deep blue oceans. Likewise, at the last scene of our dance drama, our dance team would embark on a new journey with the all-embracing love of Tin Hau and the brave unity spirit of Ying’ge.
Gerard CC TSANG 8
創作源起 Origins
唐。劉禹錫。《烏衣巷》
戰亂天災，逼使代代流人南遷。往日光輝，只餘執著的記憶。
潮汕鄉賢，帶著團結族人的英歌，落戶香江。英雄之舞，卻在 天后誕於元朗巡演，展示海洋文化的包容，各族可在此地和 睦共處，安身立命，如小白鷺變成留鳥，共建美好的家園。
Wars and natural disasters have compelled generations of vagrants from the north. Elders of Chaozhou have led their clansmen to settle in Hong Kong. Their Ying’ge (Heroic Dance) is a respected legacy to unite their clansmen. They perform this martial folk dance in Yuen Long during Tin Hau (Queen of Heavenly) festival reflecting the inclusive nature of an oceanic culture. Under her blessing all ethnic groups prosper harmoniously like the little egrets finding their new homes here.
〈水不揚波〉本事
“Turbulent Waves” Synopsis
序幕 │ PROLOGUE
英歌四頭鎚開臉掛鬚，隱藏身份，以備引領族人南遷，義不 容辭。
Four leaders disguising their identities for the southward bound migration.
( ) 鬼途未卜 │ ( I ) DANGEROUS JOURNEY
1 場：離亂求存 | Scene 1: Chaotic Departure
潮兒以玄武靈蛇探路，追尋北斗星的指向，其父流遷是南遷 族人總頭領，助潮兒攀高遠望尋路。族人離亂狂奔。
Chaoer explores possible routes with a sensitive snake following the direction of the Polar Star. Vagrant, his father is the clansmen leader who helps Chaoer to obtain a better vision. Clansmen are in chaos at the departure from their home town.
2 場：異域險境 | Scene 2: Danger Zone
流遷與潮兒父子奮勇開路，族人跟隨。
Vagrant and Chaoer bravely explore safety routes for the clansmen.
3 場：險峰迷途 | Scene 3: Towering Peaks
紅光閃動，眾人迷路攀上崎嶇險峰。
Admist glimmer red lights, clansmen climb up unknown towering peaks.
4 場：危崖失足 | Scene 4: Cliff Falling 流徙晝伏夜行，靈蛇追逐黑夜紅光，潮兒失足墜崖。 The route ends on a cliff from which Chaoer accidentally falls in the dark night.
(二) 懷海│( II ) SEA AFFECTION
5 場：海潮幻影 | Scene 5: Tidal Visions
海潮吞噬的潮兒，迴光返照小時與魚群戲水。
Tides swallow Chaoer with a childhood flash back vision of playing with fish.
6 場：水不揚波 | Scene 6: Calming Waves 危急之際，天后現身，使水不揚波。 At the critical moment, Tin Hau appears calming turbulent waves.
7 場：苦海慈航 | Scene 7: Guiding Lights 小潮兒夢會離世慈娘，點點紅燈為他求生引路。 Little Chaoer dreams of his deceased mother. Starry red lights guide his way to survival.
8 場：捕魚刮貝 | Scene 8: Fishermen at Work 漁民撒網，漁女刮貝，合力幹活。金娣發現潮兒躺卧沙灘上。 Fishermen cast nets while women scrape for clams. Jindi discovers Chaoer lying on the beach.
中場休息 15 分鐘
Intermission: 15 minutes
“朱雀橋邊野草花，烏衣巷口夕陽斜； 舊時王謝堂前燕，飛入尋常百姓家。”
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(三)逸鄉│ ( III ) LEISURE COUNTRY
9 場：留鳥白鷺 │ Scene 9: Little Egrets 潮兒靜看小白鷺群飛舞，見白鷺父子情深，留居此地。 沉思因何自己飽受離亂歲月而獨存？
Chaoer wonders why little egrets migrate as a family while he is lost alone after months of suffering.
10 場：粉墨登場 | Scene 10: Painting Mask 金娣為潮兒重新畫上花臉，以便與失散族人相認， 並緩解他的離亂苦楚。
Jindi paints Chaoer’s mask in order that he may be recognized by his lost clansmen and to ease his worry.
11 場：義氣承傳 | Scene 11: Memory Lane 潮兒回憶南遷險境，重拾英歌雄風，義氣承傳。
Chaoer contemplates on the dangerous vagrant journey and reflects on his heroic deeds and the righteous heritage.
（四）心鄉 │ (IV) HOME TOWN
12 場：上窮碧落 | Scene 12: Eternal Search 族人南遷險途，似永無止境。
流遷為族人安危，理應放棄尋子而繼續上路。
The migrating journey appears to be never ending. Vagrant should give up looking for his son and continue his leadership assignment.
13 場：情義兩難 | Scene 13: Love and Responsibility
流遷深陷族人大義與父愛的兩難取捨， 生無可戀，唯有投海自盡。
Vagrant is torn between the choice of responsibility as a clan leader and paternal love for his lost son. He has no hopes and he commits suicide by plunging into the sea.
14 場：仿如隔世 | Scene 14: Reunited Miracle
漁民合力救起流遷，潮兒相認，仿如隔世。
Fishermen rescue Vagrant from turbulent waves. Chaoer is miraculously reunited with his father.
15 場：安身立命 | Scene 15: Vagrant Dreams
潮兒牽引，流遷和金娣互生情愫，共組新家庭。
流人融合原居民，共建家園。
Chaoer links the affection between Vagrant and Jindi to form a new family. All vagrants find their new homes.
Scene 16: Normal Life Returns
四頭鎚卸甲復常生活，群眾扛船豎立海洋文化圖騰。 Four leaders return to normal life while the people hoist a boat totem of oceanic culture.
EPILOGUE
又是新的一年春耕時節，迎來三月廿三天后誕， 感恩天后眷顧，慈愛包容。繼往開來，群眾合跳英歌。
It is time for another Tin Hau Festival in spring. With the inclusive blessing of Tin Hau, all folks participate in the Ying’ge (Heroic Dance) for a bright future.
〈全劇完 The End〉
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創作團隊 Creative Team
冼源 SIN Yuen
藝術總監
Artistic Director
早期畢業於北京舞蹈學院。畢業後加入武漢歌舞劇院任主 要演員，後任武漢歌舞團副團長。1981 年定居香港，曾任香 港舞蹈團基訓及排練導師，後出任董事局成員；香港藝術發 展局藝術顧問及審批員、香港演藝學院舞蹈學院顧問及兼職 講師。2003 年被甄選列入《香港傑出舞蹈藝術家名錄》，積 極參與舞蹈藝術評論工作。現任香港舞蹈總會董事兼藝術總 監、中國舞蹈家協會顧問、中國舞蹈家協會香港會員分會主 席。2016 年獲香港舞蹈年獎頒授【終身成就獎】。
Mr SIN graduated from the Beijing Dance Academy. He joined and played the leading role in Wuhan Singing and Dancing Institute after his graduation and subsequently became the Vice-President. He settled in Hong Kong in 1981 and has taken up the posts of technique instructor and rehearsal master of the Hong Kong Dance Company, arts advisor and examiner of the Hong Kong Arts Development Council, and advisor & part-time tutor of the Hong Kong Academy for Performing Arts. In 2003, he was listed in the Hong Kong Dance Hall of Fame. He is now Director cum Artistic Director of the Hong Kong Dance Federation, Advisor of the Chinese Dancers Association, and Chairman of the Chinese Dancers Association Hong Kong Member Branch. In 2016, he received the Lifetime Achievement Award of the Hong Kong Dance Awards.
劉兆銘 LAU Siu-ming MH
藝術指導 Artistic Adviser
劉兆銘是香港舞蹈的開拓者之一，亦為無綫電視藝員，行內 人尊稱「 Ming Sir 」。劉兆銘年青時到法國學舞，嘗盡艱苦辛 酸，成為首位為法國舞蹈家編舞的華人。他是第一位在國際 間嶄露頭角的香港舞蹈家，回港後開設舞蹈學校培養年青舞 蹈員。Ming Sir是香港舞蹈總會創會成員之一；現任董事局副 會長。
1979 年，獲徐克導演邀請參演電影《蝶變》之拍攝，正式踏進 藝壇。1981 年開始為無線電視演出多部電視連續劇，期間他 參與電影演出，個性突出，深入民心。2001 年劉兆銘接受邀 請，分別演出於香港芭蕾舞團的《白蛇》及香港舞蹈團的《梁 祝》。以其多年來的演藝經驗，曾多次伙拍包括現代舞及街舞 的年青舞者，演出於香港藝術節，獲得好評如潮。2007 年獲 香港演藝學院於頒授【榮譽院士】榮銜；2017 年獲頒香港舞蹈 年獎——傑出成就獎】；2018 年更獲第十五屆香港藝術發展獎 頒發【終身成就獎】表揚他的成就。
One of the dance pioneers of Hong Kong and a TVB artist, Mr LAU Siu-ming is respectfully called 'Ming Sir' in the arts field. He studied ballet in France when he was young and became the first Chinese choreographer for French dancers and the first Hong Kong dancer internationally famous. After coming back to Hong Kong, he set up a dance school to nurture young dancers. He was Co-founder of the Hong Kong Dance Federation and is currently Vice President of the Board of Directors of the Federation.
In 1979, Ming Sir participated in the film The Butterfly Murders directed by Tsui Hark and started his performing arts career officially. Since 1981 he has acted in numbers of TV series and movies; his prominent personality has won the hearts of people. In 2001, he was invited by the Hong Kong Ballet to perform in White Snake and the Hong Kong Dance Company in The Butterfly Lovers. He has also partnered with young modern dance and street dance dancers at the Hong Kong Arts Festival, receiving critical acclaim.
Ming Sir was the recipient of Honorary Fellowship of the Hong Kong Academy for Performing Arts in 2007, and the winner of the Distinguished Achievement Award of the Hong Kong Dance Awards 2017 and the Life Achievement Award of the Hong Kong Arts Development Awards 2018.
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曾柱昭 Gerard CC TSANG
編劇 Playwright
香港大學文學士，主修中國美術史及考古學。並獲香港大學 管理學文憑及英國曼徹斯特大學博物館學文憑。曾任香港歷 史博物館副館長、新界博物館館長、香港藝術館總館長、康文 署助理署長（文博）、香港舞蹈團行政總監。
曾氏為編劇家，已出版香港歷史背景舞台劇：《逝海》、《遷界》 和《 1894 太平山之疫》。編創作品包括香港舞蹈團舞劇《清明 上河圖》、《花木蘭》、《三國風流》和《遷界》及兒童舞劇《快樂 皇子》。近期作品有香港舞蹈總會大型舞劇《緣起敦煌》（2015 ），香港話劇團大型音樂劇《 1894 太平山之疫》（2016）及古代 佛學舞台劇《恒河經變》( 2019 )。編劇作品入選上海戲劇學院 規劃建設教材〈中國話劇名著選讀〉。
B.A. (HKU) in Chinese Art & Archaeology, Dip. M.S.(HKU) and Dip. Museo. (Manchester). Former Assistant Curator of the Hong Kong Museum of History, Curator of New Territories Museums, Chief Curator of the Hong Kong Museum of Art, Assistant Director (Heritage & Museums) of the Leisure and Cultural Services Department, and Executive Director of the Hong Kong Dance Company.
Gerard is an experienced playwright who has published plays about Hong Kong history including Ebb, Evacuation Order, and 1894 Hong Kong Plague, and dance drama scripts for Qingming Riverside, Mulan, Romance of the Three Kingdoms and Evacuation Order performed by the Hong Kong Dance Company and a children’s dance drama The Happy Prince. Recent works include the grand dance poem Dunhuang Reflections commissioned by the Hong Kong Dance Federation in 2015, the grand musical 1894 Hong Kong Plague performed by the Hong Kong Repertory Theatre in 2016 and the classic Buddhist drama Ganges Legends in 2019.
陳磊 CHEN Lei, Felix
導演及編舞 Director & Choreographer
北京舞蹈學院藝術學碩士、學士。主修編舞及教育，致力於中 國傳統舞蹈的當代舞台藝術化發展，以及教育教學方面的探 索與研究。屢獲殊榮，囊括多項中國國家文化部級、省市級專 業藝術獎項，包括：舞蹈「學院杯」、「桃李杯」、全國舞蹈比賽、
華北舞蹈大賽等，榮獲金、銀、優秀等創作獎項。陳氏於 20112013 年獲賽馬會音樂及舞蹈基金會贊助其碩士研讀的全額 獎學金；2014 年以最年輕的專家身份獲邀出席北京舞蹈學院 60 週年之《當代中國舞蹈論壇》。
現任中國舞蹈家協會香港會員分會會員、現任香港藝術發展 局舞蹈藝術顧問及藝術資助申請審批員、香港舞蹈總會執委 會委員和香港演藝學院導師；曾任職香港舞蹈團主要演員； 本地創作方面，分別於 2006 及 2009 年兩度獲頒香港舞蹈 年獎。
陳氏近年的大型創作，包括了 2013 年香港舞蹈團《風水行》重 演；香港舞蹈總會九度公演的大型舞蹈詩《緣起敦煌》；其片 段《法相莊嚴》榮獲 2015 新布拉格國際舞蹈節評審會主席大 獎、編舞銀獎；更憑藉《緣起敦煌》的創作榮獲 2016 中國第五 屆全國少數民族文藝會演最佳導演獎。陳氏近期為善德基金 會呈獻的大型史詩劇《恆河經變》擔任編舞，獲得一致好評。
Felix received his MA and BA in Choreography and Education at the Beijing Dance Academy. He is committed to the contemporary artistic development of Chinese traditional dance as well as the quest and research in education. Felix has entered professional competitions such as the Dance School Cup, Taoli Cup, National Dance Competition and North China Dance Competition, and has won numerous arts awards not only of provincial and municipal level but also of the Ministry of Culture. He was granted a full scholarship for his master’s degree (2011-2013) from the Hong Kong Jockey Club Music and Dance Fund. In 2014, in the capacity of the youngest expert, he was invited to attend the "Contemporary Chinese Dance Forum" held in celebration of the 60th anniversary of the Beijing Dance Academy.
Felix is a member of the Chinese Dancers Association Hong Kong Member Branch, a Dance Arts Advisor and grant applications examiner for the Hong Kong Arts Development Council, an Executive Committee Member of the Hong Kong Dance Federation (HKDF), and an Instructor of the Hong Kong Academy for Performing Arts. He was previously a main performer of the Hong Kong Dance Company, and was granted the Hong Kong Dance Award twice, in 2006 and 2009 respectively.
His recent works include Feng Shui which had a re-run in 2013 for the experimental dance theatre of the Hong Kong Dance Company, and the HKDF’s grand dance poem Dunhuang Reflections which has been on its eighth re-run. The Austere Image excerpt of the latter won the Adjudication Chairman’s Grand Award and Choreography Silver Award at the 2015 New Prague International Dance Festival. In 2016, Felix was granted the Best Director Award with Dunhuang Reflections at the 5th Minorities Art Festival of China. His choreography in the Ganges Legends, a large-scale epic drama recently staged by the Shine Tak Foundation, was also well-received.
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鄧樂妍 TANG Lok-yin
原創音樂總監
Music Director & Composer
現擔任香港國際鼓手節總監，香港澳門國際交流基金會行政 總裁與及香港演藝學院作曲系和中樂系配器講師。她分別 在香港演藝學院及香港中文大學取得作曲系學士及博士學 位，同時獲亞洲文化協會獎學金，以及美國富布賴特獎學金 ( 2007-2008 )到美國哥倫比亞大學作訪問學者。除作曲外， 鄧氏亦從事編曲、演奏、音樂會製作、教學與電台廣播工作。
鄧氏的作品融會中、西樂，涉獵器樂、舞蹈及歌劇的音樂創 作，屢次在國際舞臺上獲獎，如亞洲作曲家同盟音樂節青年 作曲家比賽第一名，新加坡華樂團作曲大賽「青年作曲家創 作獎」，北京帕拉天奴杯作曲比賽「優秀獎」以及亞洲作曲家 同盟音樂節上獲頒「入野義朗紀念獎」等。
Dr TANG Lok-yin is an active composer worldwide. Her works achieve mastery in both Chinese and Western music, covering instrumental, dance and operatic music, with a brilliant track record of awards to her credit, namely the ACL Yoshiro Irino Memorial Prize by the Asian Composers’ League (Japan); the first prize at the Asian Pacific Festival of the Asian Composers' League Conference (New Zealand); Young Composer Award at the International Competition for Chinese Orchestral Composition (Singapore); Outstanding Award at the "Palatino" Piano Composition (China); "Dr Helmut Sohmen Composition Prize" for the symphony orchestral piece Movements-Homage to Joseph Haydn (Vienna).
TANG's recent works include the composition series for Hong Kong International Drummer Festival’s band; the Suona and Guanzi Concerto SaNa commissioned by Hong Kong Chinese Orchestra; the Chinese orchestral work The Great Evacuation; the Saxophone and Orchestra of Laptops piece Neutron Star; Hong Kong Dance Company and Hong Kong Chinese Orchestra co-production Evacuation Order; Hong Kong Arts Festival commissioned opera Tree Rhapsody; Movements - homage to Joseph Haydn, a symphony orchestral work commemorating the 200th anniversary of the death of Joseph Haydn; and Shadow and Hope: Cantata from Six Continents in Age of Pandemic commissioned by German Icking Municipality.
李峯* LEE, Bacchus*
造型及服裝設計 Image & Costume Designer
李峯先生現為香港演藝學院舞台設計系副主任及高級講師 （設計）。他的事業始於擔任亞洲電視佈景設計師，後於 1994 年加入中英劇團成為駐團設計師。2003 年加入香港演藝學院 出任駐校藝術家一職，及後於 2005 年獲聘為舞台設計講師。
李氏畢業於香港演藝學院，主修佈景及服裝設計。並於英國 倫敦藝術大學中央聖馬丁學院獲碩士，主修舞台美學；亦於 香港中文大學考獲視覺文化研究碩士。
李氏一直活躍於業界，多年來與多個表演團體合作，其中包 括日本流山児事務所、香港芭蕾舞團、香港舞蹈團、中英劇 團、香港舞蹈總會、香港話劇團、澳門演藝學院、日本亜細亜 の骨等。
Bacchus is the Deputy Head of Theatre Design and a Senior Lecturer in Design at The Hong Kong Academy for Performing Arts (HKAPA). He began his career as a set designer for Asia Television Ltd. Afterwards, he joined the Chung Ying Theatre Company in 1994 as a resident designer. In 2003, he joined the HKAPA as an artist-in-residence, and in 2005, became a lecturer for the Design Department.
Bacchus graduated in Theatre Set and Costume Design from the HKAPA; he is an MA in Scenography from Central Saint Martins College of Art and Design, and an MA in Visual Culture Study from the Chinese University of Hong Kong.
To this day, Bacchus continues to work actively with various theatre companies, including Hong Kong Ballet, Hong Kong Dance Company, Chung Ying Theatre Company, Hong Kong Dance Federation (notably in the production As Time Goes By), Hong Kong Repertory Theatre, Macao Conservatory, and Asian Rib in Japan.
* With kind permission of The Hong Kong Academy for Performing Arts
*承蒙香港演藝學院允許參與製作
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陳佩儀 CHAN Pui-yee, Claudia
燈光設計
Lighting Designer
畢業於香港演藝學院舞台及製作藝術學院，主修舞台 燈光設計。畢業後參與不同製作，包括香港舞蹈總會 《緣起敦煌》、《香港舞蹈博覽》、《逸舞情》，香港舞蹈團《三國 知多少》，亦隨 T & Y 創作坊、La P en V優之舞、錢秀蓮舞蹈
團、JAY Dance Company 往多國參加比賽和表演。除舞 蹈外，其他專業製作包括桃花源粵劇工作舍製作《帝女花》和 《拜將臺》；7A 班戲劇組《俠客列傳》等。在 2009-2010 年參 與澳門新濠天地《水舞間》的前期工作。由 2022 年至今，參與 香港故宮博物館展覽廳燈光設計工作。現為香港演藝學院晚 間課程講師。
Claudia CHAN graduated from The Hong Kong Academy for Performing Arts (HKAPA), majoring in Theatre Lighting Design. Since then, she has been engaged in various productions including Dunhuang Reflections, Hong Kong Dance Expo and Cosy Love for Dance presented by Hong Kong Dance Federation and All About The Three Kingdoms by Hong Kong Dance Company. She collaborated widely with many dance groups, including T&Y Creative Arts, La P en V, Miranda Chin Dance Company, and JAY Dance Company. Apart from dance productions, her other involvements include Floral Princess and ArenA of Utopia Cantonese Opera Workshop, and Gallants of 7A Drama Group. Between 2009 and 2010, she had participated in the Macau’s City of Dream production The House of the Dancing Water. Since 2022, she has participated in the lighting design of Hong Kong Palace Museum exhibition halls. She is currently a Parttime (Evening) Lecturer at the HKAPA.
成博民 SHING Po-man
數碼影像設計 Digital Image Designer
成博民先生畢業於香港中文大學新聞與傳播學院，並為眾聲 喧嘩創團成員。現為影像設計師及影像導演。曾合作藝團包 括香港舞蹈總會、香港舞蹈團、香港芭蕾舞蹈團、進念．二十 面體、香港話劇團、香港藝術節、無極樂團及前進進戲劇工作 坊等。
成氏近年成立多媒體工作室「春秋大夢 Daaimung」，連結跨 界創作。曾參與多個演唱會及主題公園之影像設計。
Mr SHING graduated from School of Journalism and Communication at the Chinese University of Hong Kong and is a self-taught media artist. SHING has worked with many companies and organisations on different video projects. He has been involved in many theatre productions, concerts, live performances, theme parks video visuals, etc. He has collaborated with Hong Kong Dance Federation, Hong Kong Dance Company, Hong Kong Ballet, Zuni Icosahedron, Hong Kong Repertory Theatre, Hong Kong Arts Festival, Wuji Ensemble, and On and On Theatre Studio.
SHING is also the founder and creative director of the multimedia group Daaimung, one of the few Hong Kong-based creative studios covering a broad spectrum of interactive media and video production services —— including projection mapping, motion graphics, video projections for concerts and live events, production for film and TV, and more.
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畢業於香港演藝科藝學院（一級榮譽），主修舞台設計。現為 自由身舞台設計師。
舞台設計包括：劇場空間《謀殺迴路》《死亡和我有個約會》、 《謀殺啓示》、《帶著矛盾去葡京》及《喜靈州……分享夜》； 香港話劇團《美麗團員大結局》、《我們的故事》、《引狼入室》、 《危樓》、《八樓半的密室》、《半天吊的流浪貓》及《最後晚餐》 ；香港小交響樂團《阿飛正轉》及《高世章的神奇電影畫布》
；BHT theatre《雄顏一笑》；一舖清唱《維多利雅講》《大殉 情》；唯獨舞台《唯獨袮是王II》；非凡美樂《貝里尼：諾瑪》、《風 流寡婦》、《蝴蝶夫人》及《波希米亞生涯》；爆炸戲棚《我們的 青春日誌》及《我和青天有個秘密》；夢飛行合家歡劇團《花木 蘭》；7A 班戲劇組《魔幻法典》；劇道場《阿席》、《藝海唐生》及 《聖女貞德》；香港戲劇協會《礦井下的彩虹》；風車草劇團 《碧蓮與威潔》；藝君子劇團《恐怖罐頭》及《捉你生日快樂》； 思定劇社《香江歲月情》；Metro-Holik Studio《康橋告別式》 重演。
Isaac WONG graduated from The Hong Kong Academy for Performing Arts with First Class Honors in stage design. He is currently working as a freelance stage designer in Hong Kong.
His recent credits include Appointment with Death, Go Back For Murder, Nunsensations!, 8 Femmes and Nunsense (Theatre Space); The Finale of Mr AD, In Times of Turmoil, Wolf in the House, Crumbled, Secret of the 8 1/2 Floor, and Last Supper (Hong Kong Repertory Theatre); Norma, Merry Widow, Madama Butterfly and La Boheme (Musica Viva); Jeanne d' Arc, Good Old Days and The Poetry Journey Of Ton (Theatre Dojo); The Pitmen Painters and The Cans (Theatre Dojo); The Birthday Party (Artocrite Theatre); Our Immortal Cantata and This Victoria Has No Secrets (Yat Po Singers); The Laundromat (Windmill Grass Theatre); Mulan (The Theatre Wonderland); Our Journal of Springtime The Musical and Fly Bao To The Moon (Boom Theatre); The Pitmen Painters (Hong Kong Federation of Drama Societies); The Amazing Filmphony and Pica Pica Choose (Hong Kong Sinfonietta); The Book of Magic (Class 7A Drama Group, International Arts Carnival 2018); Lion Rock (Augustine Drama); and So Long, Farewell! (Metro-HoliK Studio).
周子恩
CHOW Tsz-yan
助理編舞 Assistant Choreographer
畢業於香港演藝學院，主修中國舞。曾赴澳門、敦煌、廣州等 地交流。在校期間獲得多個獎學金。現致力參與不同藝術團 體演出以及實踐舞蹈教學工作，包括紫荊盃舞蹈大賽 2022 －《瑪朗》榮獲國際賽銅獎、本地作品優異獎以及最佳表現 獎，《鹿·災》榮獲《小紫荊盃舞蹈大賽 2022 》金獎、最佳表現、 全場大獎及國際賽銅獎。近期演出包括香港舞蹈團《媽祖》及 《倩女幽魂》、香港舞蹈總會《緣起敦煌》、「此岸-彼岸」《恆河 經變》擔任雙人舞。
CHOW Tsz-yan, Juliana graduated from the Hong Kong Academy for Performing Arts majoring in Chinese Dance, garnering numerous awards along the way. During her academic years, CHOW received The Society of APA Scholarship and Academic Studies (Dance) Faculty Scholarships. She was also invited to perform in Macau, Dunhuang, and Guangzhou. Now, she is committed to dance education. Juliana has choreographed Blessing in the Bauhinia Cup Dance Championships, for which she was awarded a bronze award and the best performance award; and Deersaster in the Junior Bauhinia Cup Dance Championships, for which she was awarded a gold award, the best performance award, and overall champion. Her recent performances include the Hong Kong Dance Company's Mazu the Sea Goddes and L’Amour Immortel , the Hong Kong Dance Federation’s Dunhuang Reflections and Ganges Legends
王梓駿 WONG Tsz-chun, Isaac
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佈景設計 Set Designer
屈美娟 WAT Mei-kuen
助理編舞 Assistant Choreographer
小水點舞蹈團的創辦人及校長。本地資深舞蹈教育家及編舞 家。屈氏致力推動舞蹈藝術教育，以培育下一代為宗旨，亦熱 衷於創作。其中編創作品《儍瓜與丫頭》獲全國少年兒童舞蹈 大賽一等獎；《舞得玩》獲小紫荊盃舞蹈大賽表演金獎、亞太 區舞蹈大賽冠軍；《老師早晨》獲小紫荊盃舞蹈大賽創作金獎 及全場大獎、袋鼠盃舞蹈比賽冠軍、小荷風采一等獎；《忘川 彼岸》本年度獲全港專業舞蹈大賽金獎及最佳表現獎。
主要演員 Main Cast
楊浩 YANG Hao
飾演
流遷：南遷族人頭領
As Vagrant: Leader of migrating clansmen
楊浩生於重慶，現居於香港。十二歲就讀於北京中國歌舞團 舞蹈學校，畢業後，先後加入中國歌劇院、廣州歌舞團、廣東 現代舞團。2007 年獲全額獎學金入讀香港演藝學院舞蹈學 士課程。
參與留駐項目包括，首爾國際舞蹈節、ImpulsTanz 2014、 耶魯大學藝術研究員。獲邀參與香港及國際藝術機構 活動，包括：香港藝術節，藝術中心，多空間，New Haven Int Festival of Arts & Ideas、Las Halls ，法國昂熱世界舞蹈聯 盟高峰論壇，Tanzmess ，舞蹈家協會培⻘計劃，廣東現代舞 蹈節等。
楊浩開始與 Alice Rensy合作，融入棟篤笑的舞蹈劇場以及電 影與現場表演，“浩浩傳奇”是這個研究系列的第一個完整舞 臺作品，由香港藝發局 New Arts Power 2019委約創作，並 獲選藝發局內地演出計劃 —— 上海 1862 劇場，以及文化交流 基金。
楊浩於 2023 年 2 月畢業於香港城市大學創意媒體學院研究生 學位，主修表演與媒體藝術的實際運用，以及技術哲學。
Ms WAT is the founder and principal of Hibiscus Dance. She is an experienced dance educator who devotes herself entirely to promoting dance and nurturing the next generation. She is also a brilliant choreographer. Her creative works include: Cute Little Kids , which won a first prize in the National Children’s Dance Competition; Dance Is Fun , winning a gold award in performance in the Junior Bauhinia Cup Dance Championships and the champion in the Asia Pacific Dance Competition; Good Morning Teacher , winning a gold award and the overall champion in originality in the Junior Bauhinia Cup Dance Championships, the champion in the Kangaroo Cup Dance Competition, and the first prize in Xiao He Feng Cai; and The New Dawn , which won a gold award and the best performance award in the Hong Kong Professional Dance Competition this year.
YANG Hao was born in Chongqing and currently lives in Hong Kong. He studied at the China Song and Dance Troupe Dance School in Beijing, and after graduating, he successively joined the China Opera Theatre, the Guangzhou Song and Dance company, and the Guangdong Modern Dance company. In 2007, he received a full scholarship to study a BFA in contemporary dance at The Hong Kong Academy for Performing Arts.
He had artist residency with Seoul International Dance Festival, ImpulsTanz, Yale-China Arts Fellow, and worked with arts institutions such as: Hong Kong Arts Festival, Arts Centre, Y-Space, New Haven Int Festival of Arts & Ideas, Las Halls, World Dance Alliance Summit Forum in Angers, Tanzmess, etc.
YANG worked with Alice Rensy to intertwine stand-up comedy and dance theatre, film and live performances, The Legend of Hao Hao was the first full-length stage work in the research series, commissioned by HKADC's NAP 2019 and selected for the HKADC's Mainland Performance Scheme – Shanghai 1862 Theatre, and the 8 cities tour in China 2022.
YANG has graduated as an MFA at the School of Creative Media of City University of Hong Kong in 2023, focusing on the practical and philosophical connection between performing arts and technology.
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陳映熹 CHAN Ying-hei
飾演
潮兒：流遷獨子
As Chaoer: The only son of Vagrant
2018 年以一級榮譽生資格畢業於香港演藝學院中國舞系。在 校期間獲多項奬學金。2016 年曾代表香港前往北京參加第五 屆全國少數民族文藝會演。曾參與校內演出包括《籤》擔任獨 舞、《梁祝》中飾演祝英台等。近期演出包括《緣起敦煌》、《曼 舞娉婷》等。
2012 年參與群舞《颼颼》獲得紫荊杯國際舞蹈邀請賽國際大 獎及紫荊杯舞蹈大賽作品賽銀獎。2018 年憑陳磊獨舞作品 《刑》獲得紫荊盃單項賽銀獎。
Joanne CHAN graduated from The Hong Kong Academy for Performing Arts in 2018 with a First-class Honours Degree, majoring in Chinese Dance. She had received numerous scholarships during her studies at the Academy, and had toured Beijing for the 5th National Minorities Art Festival of China in 2016.
Joanne has participated in different performances, including Dunhuang Reflections and Grace of Dance Besides, she was the soloist in Fortunes and took a main role in The Butterfly Lovers . She has also received the Grand International Award in Bauhinia Cup International Dance Invitation Championships 2012 and the Silver Award in the Solo, Duo & Trio session in Bauhinia Cup Dance Championships 2018.
何泳濘*
HE Yongning*
飾演 金娣：漁家女 / 天后
As Jindi: Fisherman’s daughter / Tin Hau
2011 年畢業於香港演藝學院舞蹈學院獲得一級榮譽學士學 位，獲得多項獎學金。2012 年至今為香港舞蹈團全職舞蹈員， 參與多部舞劇以及各國巡演。曾擔任舞劇選段三人舞角色 《小破陣樂》、《青衣》飾演春來等角色。同時參與香港舞蹈團 兒童少年團導師及編舞創作。
曾以獨舞作品《徘徊》獲得香港紫荊盃國際邀請賽獨舞金獎 和優秀女演員獎。2016 年至今參與香港舞蹈團八樓平台節目 編舞作品《四面十三方》、《在》等。
在舞團期間，曾獲邀參加饒宗頤博物館的首屆「香港開放舞 蹈」、日本舞蹈藝術節、中國好舞蹈、首屆 Solo & Duo 韓國編 舞比賽、i-Dance 香港舞蹈節的開幕演出嘉賓。2017 年獲邀 前赴英國倫敦的編舞家韋恩·麥格雷戈( Wayne McGregor) 舞團交流及演出。2023 年受邀參與香港舞蹈總會《水不揚波》 演出飾「金娣」。
*香港舞蹈團舞蹈員
HE Yongning obtained a Bachelor’s degree with first-class honours from the Hong Kong Academy for Performing Arts in 2011. As a student, she received numerous awards and scholarships. Since joining the Hong Kong Dance Company (HKDC) in 2012 as a full-time dancer she has participated in many productions and international tours, including the pas de trois Little Court Music from Beauty Beyond Words: Ancient Chinese Dance Classics and the role of Chun Lai in The Moon Opera . She also serves as instructor and choreographer for the HKDC Children’s and Youth Troupes.
Her solo dance piece Hesitate garnered the Gold and Outstanding Female Dancer awards at the Bauhinia Cup International Dance Invitation Championships. Since 2016, she has participated in the HKDC’s 8/F Platform, creating such experimental works as 4 Times 13 = ? and I’m here
While working as a member of the HKDC, HE was invited to perform at the first Open Dance event at the Jao Tsung-I Academy, Beppu Contemporary Arts Festival, China’s So You Think You Can Dance, the NDA 1st Asian Solo & Duo Challenge in Seoul and the i-Dance Festival
Opening in Hong Kong. In 2017, renowned choreographer Wayne McGregor invited her to take part in a residency programme in London. She was invited to play the role of Jindi in Turbulent Waves , a Hong Kong Dance Federation production that is part of the Chinese Culture and Dance Festival taking place this August.
* Dancer of Hong Kong Dance Company
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黃晞純
WONG Hei-shun, Jaymee
飾演
小潮兒：潮兒（童年）
As Small Chaoer: Chaoer (Childhood)
黃晞純，現年十歲，由三歲開始在小水點舞蹈團接受爵士舞 及現代舞訓練。自小熱愛舞蹈，並屢獲比賽獎項。近年所獲個 人獎項包括：2022 小紫荊盃舞蹈大賽- 第二名，及挑戰盃舞蹈 比賽- 金獎及最高分得主。2023 學校舞蹈節- 優等獎，Dance World Cup ——第二名，全港公開舞蹈比賽——金獎，袋鼠盃 舞蹈大賽——金獎第四名及全港專業舞蹈大賽——金獎。
Jaymee is ten-year-old and she started Jazz and Contemporary Dance training at the Hibiscus Dance since she was three. She has won many dance awards recently, including: Bauhinia Cup 2022 – Silver, Challenge Cup 2022- Gold & The Highest Mark Winner, School Dance Festival 2023 - Honour Award, Dance World Cup 2023 –Silver, Hong Kong Dance Contest 2023 – Gold, Kangaroo Cup 2023 - Gold Ranking 4, and Hong Kong Professional Dance Competition 2023- Gold.
As Small Chaoer: Chaoer (Childhood)
周逸，現年十歲，自小熱愛舞蹈，由三歲開始在小水點舞蹈團 接受專業的爵士舞、當代舞及中國舞訓練，曾於 2022 年參與 香港舞蹈總會舉辦的《逸舞情》舞蹈演出，也曾參加本港多項 大型舞蹈比賽，近年獲得個人獎項有:舞蹈世界盃(亞洲)香港 區賽 2022 及 2023 年，連續兩屆得兒童當代舞(獨舞)男子組 第一名、第五十九屆學校舞蹈節( 2022 至 2023 年度)小學組 當代舞及中國舞(獨舞)獲得優等獎、袋鼠盃舞蹈大賽 2022 及 2023 當代舞(獨舞)分別得金奬第二名及金獎第三名、紫荊盃 舞蹈大賽 2022 小紫荊盃公開舞兒童組(單項)優異獎等。
Rex is a ten-year-old boy with a passion for dancing since he was young. He started receiving professional training in jazz, contemporary, and Chinese dance at the age of 3 at the Hibiscus Dance. He participated in the Cosy Love for Dance performance organized by the Hong Kong Dance Federation in 2022 and has also taken part in various large-scale dance competitions in Hong Kong. In recent years, he has won several individual awards, including the first place in the Boys' Solo Contemporary Dance category at the Dance World Cup (Asia) Hong Kong Qualifying Match 2022 and 2023. He also received Honour Awards in both Contemporary and Chinese dances (Solo) in the 59th Hong Kong Schools Dance Festival 2022-2023 Primary School session, and in the Contemporary Dance (Solo) at the Kangaroo Cup Dance Competition in 2022 and 2023, achieved Gold Rankings 2 and 3, respectively. Additionally, he received the Merit Award in the Children's Open Dance (Solo, Duo & Trio) category at the Bauhinia Cup Dance Championships 2022 - Junior Bauhinia Cup Dance Championships.
周逸 CHAU Yat, Rex
飾演 小潮兒：潮兒（童年）
18
特邀演出團體
Guest Performers 普寧市富美青年英歌隊
The Puning City Fumei Youth Yingge Team
富美村自古便有傳習英歌舞的傳統，最早可追朔到明末清 初，後因時代變遷、生活條件所限，英歌傳習時斷時續。據傳 上世紀五十年代富美村英歌隊在裏湖前後、四鄉六裏的交流 和比賽常常拔得頭籌，觀者連連喝彩。後來文化大革命破“四 舊”禁止此類活動，傳習中止，技藝幾近失傳。隨著改革開放 人民生活水平提高，老輩人覺得包括英歌在內的多項文娛文 藝項目不能後繼無人，由村老人組牽頭向鄉賢村民捐款籌集
了文娛活動經費，于 1998 年成立了英歌隊，2007 年李俊凱任 領隊，李俊浩任總教練，把英歌隊起名《富美青年英歌隊》，經 過不繼努力逐漸發展壯大。
富美青年英歌隊自成立以來多次參加海內外各類型交流演出：
2011 深圳市第六届客家文化節嶺南三韵專場演出
2013 香港潮商衛視：首届全球潮人春晚
2014 年參加首届《普寧英歌民俗文化節》
2014 年 10 月 20 日“相約北緯 23.5°
富美青年英歌隊現有隊員 60 多人，日常表演人數 50 人，年齡 14-30 歲。英歌舞表演前準備時間較長，表演時動作健壯有 力，運動力度大，表演時間長，一場表演下往往汗流浹背，如 果不是熱愛英歌文化擁有絕對熱愛的心承受不了這種辛苦。 因此富美青年英歌隊挑選隊員都是要求熱愛英歌文化，能吃 苦，遵守團隊紀律，團結互助。
富美青年英歌隊主要陣列特點：英雄下山，萬軍齊發，賭約競 技攻大名，英雄會師慶團圓等。英歌教練李俊浩在繼承傳統 的同時，也注重創新與改革，自創動作有：英雄打虎，大鵬展 翅，撥草擒蛇等；表演服飾設計獨具一格。17 年 10 月李俊浩被 評選爲“普寧英歌”揭陽市級代表性傳承人。
”——美國華盛頓州訪問團南澳訪問活動，迎接現場表演活動
2015、2016、2017、2018、2019 普寧市區春節文娛活動
2015 廣西南寧潮商大會大和平商城文藝晚會
2016、2017、2018 厦門海滄瑞青宮海峽兩岸祖廟保生大帝聖駕巡安文化節
2018 英歌隊教練李俊浩受聘爲電影《英歌魂》英歌動作指導老師
2018 參演電影《英歌魂》拍攝
2019 參加第二届《普寧英歌民俗文化節》
2019 全國自由搏擊賽開幕表演
2019 年香港九龍天后寶誕巡街表演
2019 第十一届海峽論壇·第二十八届海峽兩岸(福建東山)關帝文化旅游節
2019 年11月參加第七届(福建)南安 - 國際鳳山文化旅游節
2019 肇慶市請到廣東過大年 - 粵游粵精彩
2020 深圳市第八届潮人文化節 - 國潮圳先行
2020 中馬“送王船”聯合申遺成功，暨閩南(福建同安)海洋歷史文化論壇開幕式：第152届同安區呂厝“送王船”文化節
2021 國慶參加湖南長沙銅官窑古鎮文藝匯演
2022 參演電影《剃頭鋪》拍攝
2023 正月初四接受中央電視臺《新聞聯播》采訪、 4 月底赴京參加由中央電視總台舉辦的《2023 五四青年特別節目》錄製、
5 月赴澳門文化交流演出、6
月赴泰國與泰國英歌文化交流，參加深圳市福田區粵港澳龍舟邀請賽開幕式等等。
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Learning Yingge dance and passing it on to the next generation has been a tradition in Fumei Village since late Ming and early Qing. Due to time changes and living conditions, however, the practice has been intermittent. It was said that in the 1950s the Yingge dance team of Fumei Village often came out on top and won heavy applause in exchanges and competitions organized by Lihu Town and nearby villages. Yet, such activities were prohibited because of the campaign to Destroy the Four Olds during the Cultural Revolution, resulting in the teaching and learning coming to a stop and the techniques in Yingge dance being almost lost. It was only until the living standard was raised along with the reform and opening-up that the older generation perceived cultural events including Yingge had to have inheritors. They took the lead to pool funds for cultural activities from eminent personages and villagers, and in 1998 the Yingge team was founded. In 2007 LI Junkai became the leader and LI Junhao the coach¸ and the team was named Fumei Youth Yingge Dance Team.
The Team has developed very well through unremitting efforts. At present there are over 60 members, 50 out of whom are regular dancers aged from 14 to 30. For a Yingge dance performance, dancers have to spend a comparatively long time to warm up; the strong and vigorous movements require lots of strength, the performance time is long; and the dancers are always bathed with sweat after each performance. Young people can never bear such hardships if they do not love the Yingge culture and have absolute passion for it. The recruitment requirements of the Team, hence, rely on the love for the Yingge culture, and the ability to endure hardships, observe discipline and to work in unity and help one another.
The major array of Fumei Youth Yingge Dance Team includes Heroes Going down the Mountain, Thousands of Troops Setting off, and Heros Meeting up to Celebrate Reunion. While inheriting the tradition, Coach LI Junhao focuses on innovations and changes. He has created movements such as Hero Fights a Tiger and A Great Hawk Spreads Its Wings, as well as designing costumes of a unique style. In October 2017 LI was selected the representative inheritor of Puning Yingge of Jieyang city. In 2018 he became the action director of the film The Soul of YING GE and the Team also took part in the film.
Fumei Youth Yingge Dance Team has participated in numerous interchange performances inland and overseas since inception: the 1st and 2nd Puning Yingge Folk Culture Festival (2014, 2019), the Changsha Tongguanyao Ancient Town Arts Festival, Hunan in celebration of the National Day (2021), Recording of the Special Programme for the Youth Day 2023 for the CCTV in Beijing (April 2023), and Exchange with Yingge teams in Thailand (June 2023), just to name a few.
李俊浩 LI Junhao
李俊凱 LI Junkai
陳奕帆 CHEN Yifan
官孝宇 GUAN Xiaoyu
洪吉輝 HONG Jihui
黃淩鑌 HUANG Lingbin
黃榮彬 HUANG Rongbin
李熾壯 LI Chizhuang
李泓欣 LI Hongxin
李潔坤 LI Jiekun
李釗鍇 LI Zhaokai
李志强 LI Zhiqiang
林曉鑫 LIN Xiaoxin
潘澤鋒 PAN Zefeng
謝金澔 XIE Jinhao
謝子博 XIE Zibo
許鴻森 XU Hongsen
許培欽 XU Peiqin
楊相權 YANG Xiangquan
詹皇杰 ZHAN Huangjie
詹錦標 ZHAN Jinbiao
鄭金展 ZHENG Jinzhan
周樹鑫 ZHOU Shuxin
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演出團體 Performing Groups
元朗舞蹈團
Yuen Long Dance Troupe
元朗舞蹈團是元朗區文藝協進會屬下表演藝 團之一。舞蹈團由舞蹈主任李惠芳校長及舞 蹈家藝術總監劉佩雄先生策劃領導。舞團現 有 300 多位團員，導師有劉佩雄、韓國耀、王裕 芳、鍾鎧汶、陳蘊聰、吳美娟、劉愛鈴、熊敏兒等 十多位老師。舞蹈團每年定期舉行多場表演， 如周年表演、慶回歸表演、國慶表演及組織比 賽等。舞團舉辦 39 班各類舞蹈班，為推動元朗區舞蹈活動、培養舞蹈人才、活躍地區舞 蹈文化而作出貢獻。
Yuen Long Dance Troupe is one of the performing arts groups under Yuen Long District Arts Committee. Led by Principal LEE Wai-fong, the dance coordinator, and Mr LAU Pui-hung, the artistic director, the Troupe boasts some 300 members and over 10 dance teachers currently. Every year it stages regular performances including annual performances, shows in celebration of the return of Hong Kong to China and the National Day. Other than competitions, it also organizes 39 dance classes of all varieties, aiming to promote dance activities in Yuen Long, cultivate dance talents, and to vitalize the dance culture of the community.
屯門舞蹈團
Tuen Mun Dance Company
總監。舞團現有 400 多人，每年舉行三場舞 蹈表演、八場比賽及一場優勝表演。舞團並設 有 85 舞蹈班，包括中國舞、芭蕾舞、爵士舞及 拉丁舞。
Tuen Mun Dance Company is headed by a professional and celebrated artistic director, Mr LAU Pui-hung. There are more than 400 members at present and the company organizes three dance performances, eight competitions and one winners’ performance each year. The company also organizes 85 dance classes including Chinese dance, Ballet, Jazz and Latin America dance.
小水點舞蹈團
Hibiscus Dance
成立於 2000 年，由資深舞蹈家屈美娟女士創 立。以弘揚舞蹈藝術，推動本港舞蹈發展為己 任，並致力培養及訓練舞蹈人才，為年青舞者
增強自信心，提供實現藝術理想的平台。
Formed in 2000 by Wat Mei-kuen, Irene, to develop dance activities in order to cultivate self-confidence and community team spirit. To encourage collaboration between dance and other art forms. To enhanced self-confidence for young dancers by providing an ideal platform to achieve artistic excellence.
陳蘊聰 CHAN Wan-chung, Ruby
鍾鎧汶 CHUNG Hoi-man, June
宗曉彤 CHUNG Hiu- tung
熊敏兒 HUNG Man-yi
林梓瑩 LAM Tsz-ying, Bertha
李凱琳 LEE Hoi-lam
梁慧妍 LEUNG Wai-yin
廖安莉 LIU On-lee
馬舒琪 MA Shu-ki
余曦文 YU Hei-man
陳芷瑤 CHAN Tsz-yiu
左惠珠 CHO Wai-chu
朱翠華 CHU Chui-wa
何卓思 HO Cheuk-sze
李思敏 LEE Sze-man
梁凱鈴 LEUNG Hoi-ling
繆海婷 MOW Hoi-ting
宋依晴 SUNG Yee-ching
余安琪 YU On-ki
陳楚喬 CHAN Cho-kiu, Abbie amber
陳祉企 CHAN Tsz-kei, Hailey
陳芷君 CHAN Tsz-kwan, Carey
陳穎琳 CHAN Wing-lam ,Karen
周芯悦 CHAU Sum-yuet, Summy
黃星嵐 Ervin Huynh
洪日希 HUNG Yat-hei, Gisele
李希雪 LEE Hei-suet, Snowy
李莃晴 LEE Hei-ching, Hayley
雷芷柔 LUI Tsz Yau, Vanessa
吳頌茹 NG Chung-yu, Joys
龍家惠 Nugteren Madalena Isabella
談諾澄 TAM Lok-ching, Hailey
黃晞純 WONG Hei-shun, Jaymee
王偉權 WONG Wai-kuen, Alvin
黃婉桐 WONG Yuen-tung, Annis
鄭婼心 ZHENG Grace
屯門舞蹈團由專業舞蹈家劉佩雄先生任藝術
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香港紫荊花舞蹈團
Hong Kong Bauhinia Dance Association
成立於 1996 年，宗旨為培養本地青年舞蹈家 參與並發揚舞蹈，藉以修養品德及提高生活情 操。推動香港中國舞蹈發展之餘，促進本港與 外地舞蹈文化交流。舞蹈團曾多次參與各項 大型舞蹈比賽，亦與多個內地團體合作交流 演出。
Hong Kong Bauhinia Dance Association was established in 1996 to foster local young dancers participation and to enhance their character development and appreciation of life. The Association has participated in various dance competitions and won many awards. In addition to promoting the development of Chinese dance in Hong Kong, it has organised different dance and cultural exchange programmed.
曉舞蹈 Dynamic Dawn Studio
曉舞蹈於 2003 年創立，致力推廣中國舞蹈文 化，藉著舞蹈教育啟發兒童的創作和思考，培 育舞蹈人才，發揚中國舞蹈藝術的精髓。本團 以北京舞蹈學院中國舞等級考試課程為基礎， 令學習更全面和有系統；設有中國舞基本功訓 練、身體協調和靈活性訓練、關節柔軟度及音 樂節拍感訓練，以及各種民族民間舞蹈組合訓 練。歷年來經由本團保送參加考試之人數眾多，成績超卓。本團更會安排學生參與公開 舞蹈演出及比賽，獲取寶貴的舞台經驗，提高舞蹈水平；藉此培養學生自信心及群體合 作性，同時也能讓家長一同分享學生努力的學習成果。曉舞蹈之導師更為多間中、小學 及幼稚園編排舞蹈，參加香港學校舞蹈節及各區公開舞蹈比賽，屢獲佳績。
Established in 2003, Dynamic Dawn Studio aims at inspiring children’s creativity through dance education and developing the quintessence of Chinese dance. Dance lessons are designed in a comprehensive and systematic way based on the syllabus of the Beijing Dance Academy (BDA) Chinese Dance Graded Examination. Students not only learn basic Chinese dance technique and dance sequences but also have training on body coordination, flexibility, agility and rhythm. Over these years students sitting for the BDA examination have achieved remarkable results. Dynamic Dawn Studio often provides chances for the students to compete and perform so as to increase their stage experience, self-confidence and cooperation. Additionally, parents would share their children’s learning achievements. The instructors of Dynamic Dawn Studio also make choreographies for kindergartens, primary and secondary schools so that they can enter the Schools Dance Festival and dance competitions of various districts.
陳穎琳 CHAN Wing-lam, Iris
趙善欣 CHIU Sin-yan, Alice
蔡明芝 CHOY Ming-Chi
郭詠瑩 KWOK Wing-ying, Joanne
林靜嫻 LAM Ching-han, Betty
劉智穎 LAU Chi-wing, Cynthia
劉煒煒 LAU Wai-Wai
李心瑗 LEE Sum-wun, Hebe
李維茵 LEE Wai-yan, Vivian
樂芷瑜 LOK Chi-yu, Yuki
潘健莉 POON Kin-lee, Lily
岑嘉瑩 SHAM Ka-ying, Ada
蕭幗敏 SIU Kwok-man, Amy
阮秀蕙 YUEN, Elsa
容灝晴 YUNG Ho-ching
陳韻堯 CHAN, Isabella
陳善琳 CHAN Sin-lam
陳映伶 CHAN Ying-ling
趙詠妮 CHIU, Winnie
蔡曉嵐 CHOI Hiu-nam
馮煒珊 FUNG Wai -shan
何曉兒 HO Hiu-yi
江芷瑤 KONG, Jessie
劉軒怡 LAU Hin -yee
李欣熹 LEE Yan-hei
梁雪晴 LEUNG Suet-ching
呂晞瑤 LUI Hei-yiu, Kirsten
陸芷嶠 LUK Tsz-kiu
龍汶芷 LUNG Man-tsz
吳靜文 NG Ching -man
施泳淇 SZE Wing-ki
黃騰瑤 WONG Tang-yiu
王睿喬 WONG Yui-kiu
楊穎琳 YEUNG Wing-lam
楊欣穎 YEUNG Yan-wing
余子曼 YU Tsz-man
葉丹娜 YIP Tan-na
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