香港帶路城市文化交流會議2019–會議及課程手冊 Hong Kong Belt-Road City-to-City Cultural Exchange 2019-conference book by Zuni Icosahedron

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International Cultural Exchange

Strategies and the Future 國際文化交流 - 策略與未來

KUL SIN

JKT JOG

Conference and Program Booklet

會議及課程手冊 10-11/09/2019

2019 Hong Kong Belt-Road City-to-City Cultural Exchange Conference and Executive Education Programme - A Global Perspective on Cultural Exchange

香港帶路城市文化交流會議及

管理進修課程－「文化交流的世界視野」

Convenors:

Danny Yung & Mathias Woo

召集人�榮念曾、胡恩威

Theme: International Cultural Exchange –

Strategies and the Future 10 - 11 September 2019 (Tue & Wed) Grand Theatre, Hong Kong Cultural Centre Organiser 主辦

主題：

國際文化交流⸺策略與未來

2019 年 9 月 10、11 日（二、三）香港文化中心大劇院

前言

Introduction suggested building an city-to-city cultural exchange think tank and initiated three applied research projects. They are: 1. Belt and Road cities network; 2. ASEAN cities network and 3. Greater China cities network.

Welcome to the 3rd Hong Kong Belt-Road City-toCity Cultural Exchange Conference.

The theme of this year's conference is “International Cultural Exchange – Strategies and the Future”. There will be reports and presentations that focus on the role of arts and cultural foundations in international cultural exchange, as well as the interim report of the three Applied Research Studies on City-to-City Cultural Exchange Network. The Conference will also see the kick-off of a Shanghai-Hong Kong Cultural Exchange personnel training scheme. Together they lay the ground for establishing a city-based cultural exchange think tank.

To establish the city-to-city cultural exchange think tank, we need to compare and analyze the "existing" important cultural network organizations worldwide, their respective history, purpose, structure, operation, governance, model, programme direction, transparency, self-evaluation mechanism and the challenges they face from global cultural conflicts. The study of all these will provide us with valuable references. In fact, one of the purposes to build a think tank is to explore how we can be organic, open-minded and dialectic enough to develop culture for the future. The research and development of an institution for cultural exchange mechanism is just a small step, a vehicle toward the final goal.

The situation and concept of global cultural exchange is facing dramatic change partly due to China's Belt and Road Initiative. How do we cope with the changes? How to turn them into opportunities? Solid knowledge-based planning will help facilitate and empower the cultural sector to re-examine their role in the new world order. Within these changes and challenges, it is crucial for cultural practitioners to build a knowledge-based platform and network, to establish a think tank for the research and development of cultural networks, and to construct forward-thinking and dialectic discussions.

Since China has stated that it is preparing to build over 50 cultural exchange centres around the world, we express our concern towards their planning, as well as their vision, purpose, structure, operation, governance, model, programme direction, transparency, self-evaluation mechanism, and their responsibility in global cultural development. This plan of China's allows us to renew our understanding and review current world cultural organizations including UNESCO and other global cultural network institutions and foundations.

This year we have gathered cultural exchange experts who have participated in the previous two conferences; young cultural practitioners from our training programme; and forward-thinking theatre artists, who are all friends who care about global cultural development. Collaboratively we hope to find the ideal cultural exchange model. I have always believed that without cultural exchange there will be no cultural development, without in-depth cultural exchange “strategies”, all the political and economic exchange will be only activities with a short-term function. Without interactive cooperation, and without critical thinking and experiment, there won’t be much space for the development of world cultural exchange, and therefore peace and harmony will only be empty slogans.

Another special feature of this year’s Belt-Road Conference is that the meetings and workshops in Hong Kong during Sept 10-11 will be continued in Shanghai a month and half later, during the World Cities Cultural Forum hosted by the Shanghai Academy of Social Science. Training workshop will be held at the Shanghai Theatre Academy. In three month’s time, the dialogue shall continue to extend to cities worldwide in the form of small-scale workshops and city cultural forums. Some would ask what is the ultimate goal of the cultural city network think tank? I’d like to think, the definition of cultural think tank itself is an agenda that we have to pay attention to and develop together.

Furthermore, with “city” as the base unit of investigation, the city-to-city cultural exchange network made up of attributes that are crossdisciplinary, cross-cultural and cross-departmental continues to be the target of our concern. The think-tank style of meeting is also our model of experiment. During the conference of 2018, we

2019

建立城市文化交流智庫，我們需要分析比較世

歡迎大家參加第三屆香港帶路城市文化交流會

界「既有」重要網絡文化組識，它們各自的歷

議。

史、目標、架構、營運、管治、模式、活動方向、透明度、自我評核機制，以及所面對世界

今年的主題是《國際文化交流 - 策略與未來》。

文化衝突的挑戰，這些都供我們借鏡。其實建

其中的報告，將聚焦在對於國際文化交流基金

立智庫其目標就是探索如何有機地、開放地、

會的評議，以及三項城市文化交流網絡應用研

辯証地發展未來的文化，而研發文化交流機制

究的初階報告；同時會議也開展上海香港合作

機構只是載體，只是一小步。

的文化交流人才培訓試點計畫。這都是建立城市文化交流智庫的基本。

當我們知道中國準備在全球建設五十個或更多文化交流中心，我們都關注它們的策畫以及視

世界文化交流的現況及概念正面對劇變，部分

野，包括它們的目標、架構、營運、管治、模

源自中國一帶一路倡議。我們如何處理變動？

式、活動方向、透明度、自我評核機制，以及

如何將變動轉為契機？以堅實知識為基礎的規

它們有沒有接受承擔世界文化發展的挑戰。中

劃，將有助文化界思辯與前瞻在新世代的角

國的計畫正好讓我們重新瞭解評議既有的世界

色。在變動之中，建立智識基礎的平臺及網

文化組織包括聯合國教科文組織和其他有實力

絡，建立文化網絡硏發的知庫、建立前瞻思辯

的世界文化網絡式組織、文化基金會等。

文化工作的討論至關重要。

今年聚在一起的有過去兩屆的文化交流專家

今年的帶路會議另一個特色就是將香港九月十

前瞻劇場的藝術工作者，都是關心世界文化發

伸至上海社科院主辦的�界城市文化論壇裡繼

日至十一日的會議及工作坊，在一個半月後延

們，有參加培訓計畫的年輕文化工作者，也有

續進行，培訓工作坊會在上海戲劇學院舉行。

展的朋友。我們期待能共同尋找更理想的文化

然後三個月後，在明年春天再延伸至全球各地

交流模式。承如我一直堅信，沒有文化交流就

舉行小型工作坊和城市文化論壇。

沒有文化發展；沒有深度的文化交流「䇿略」，

所有政治和經濟的交流都是短線功能的活動。

沒有互動合作，沒有思辯前瞻，世界文化交流

也有朋友問文化城市網絡智庫最終的目標是什

的口號。

要關注和共同發展的議程。

麼。我想，對於文化智庫的定義，也是我們需

發展不會有太多空間，和諧和平容易成為空洞

榮念曾

另外，以「城市」為單位，以跨領域跨文化跨部門組合的城市文化交流網絡，仍然是我們關

注的形式，智庫型的聚會，也是我們實驗的模式。在二零一八年論壇，我們建議具體建立城市文化交流智庫，同時推動三項城市文化網絡

研發的項目。它們是（1）一帶一路城市網絡；

（2）東盟城市網絡；及（3）大中華城市網絡。

Danny Yung

Program schedule Day 1 – 10 Sept 2019 (Tue) 0915-0930 0930-0945

Day 2– 11 Sept 2019 (Wed)

Admission

Opening and Introduction Danny YUNG

Hong Kong

Convenor and Co-Artistic Director, Zuni Icosahedron

Hong Kong

Associate Professor, Department of Architecture, The University of Hong Kong

0915-0930

Pornrat DAMRHUNG 0945-1025

Session 1: Belt-Road cities network

Commentators Özlem ECE NGUYEN Thi Thu Ha Udayan VAJPEYI 1035-1115

Break

Rachel COOPER Minli HAN

New Delhi

Singapore New York

Singapore

Pawit MAHASARINAND Bangkok

Director of Global Performing Arts and Special Cultural Initiatives, Asia Society Founder and Director, Filmgarde Cineplexes Director, Bangkok Art and Culture Centre

Commentators Jason KONG LIU Xiaoyi Patravadi MEJUDHON Nattapon WANNAUN 1030-1045

Pure Yichun CHEN Yusaku IMAMURA Hans-Georg KNOPP Summary by Moderators

1045-1145

Tokyo

Berlin

Assistant Professor of Humanities (Theatre Practice), Yale-NUS College

LEE Liheng

Board Member, Bowen Art Foundation

NGET Rady

Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts

Sabrina SNG

1430-1500 1500-1515

Group Workshop Participant Reports Summary by Moderator

1515-1530

1530-1700

Break

1700

End of Day One Program

Rachel COOPER Commentators LEE Chee Keng Pawit MAHASARINAND SHEN Yili Didik Nini THOWOK 1145-1200

Tokyo

Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts

Hong Kong

Cantonese Opera Artist and Scriptwriter

Hatyai

Traditional Thai Dance Artist

Singapore Bangkok

Founder and Artistic Director, Emergency Stairs

Founder, Director and Teacher, Patravadi School Huahin

Hong Kong

Adjunct Professor, Chinese University of Hong Kong & SPACE, University of Hong Kong

Berlin

Senior Fellow, Hertie School of Governance, Berlin and Former General Secretary of the Goethe-Institut

Taipei/Shanghai

Director of Cultural Policy Studies, Istanbul Foundation for Culture and Arts (İKSV) Independent Curator for Arts Festivals and Program

Singapore

Contemporary Dance Artist

New York

Director of Global Performing Arts and Special Cultural Initiatives, Asia Society

Istanbul

Phnom Penh

Contemporary/ Traditional Cambodian Dance Artist

1200-1245

Break

1300

Assistant Professor of Humanities (Theatre Practice), Yale-NUS College

Yogyakarta

Classical Javanese Dance Artist

Bangkok

Shanghai

Director, Bangkok Art and Culture Centre Cross-disciplinary Kunqu Artist

Round-table Discussion Moderator TSENG Sun Man

1245-1300

Singapore

Discussion + Conversation

Pawit MAHASARINAND

Life Trustee of the Raza Foundation

Speaker

Professor, Department of Social Science, The Hang Seng University of Hong Kong

One Belt One Road Traditional/ Contemporary Arts Demonstration and Guided Arts Appreciation

Contemporary Dance Artist and Lecturer

(4) Global Performing Arts Exchange: Meetings in an Interdependent World

Senior Fellow, Hertie School of Governance, Berlin, and Former General Secretary of the Goethe-Institut

Moderator

1345-1430

New Delhi

(3) Post-National Cultural Exchange Speaker

Özlem ECE

Cultural Exchange Network Research - Group Workshop Hong Kong

Tokyo

Board Member, Bowen Art Foundation

Traditional Malay Dance Artist

Moderator

Commentators

Lunch Break

Desmond HUI

Break

Hans-Georg KNOPP

Hangzhou/ Singapore

Hangzhou/Singapore

Singapore

Discussion + Conversation

TSENG Sun Man

Researcher/ Presenter Singapore

Director, Bangkok Art and Culture Centre

(1) Notions of Arts Funding and Cultural Exchange in ASEAN Speaker Singapore Founder and Director, Filmgarde Cineplexes Minli HAN

Yusaku IMAMURA

Life Trustee of the Raza Foundation

Founder and Artistic Director, Emergency Stairs

Bangkok

(2) Why not Alternative and Experimental International Cultural Exchange ? Speaker

Director of Cultural Policy Studies, Istanbul Foundation for Culture and Arts (İKSV) Director of VICAS Art Studio, Vietnam National Institute of Culture and Arts Studies (VICAS)

Session 3: Greater China cities network

Commentators

1220-1345

Hanoi

Break

LEE Chee Keng

1205-1220

Istanbul

Independent Curator for Arts Festivals and Program

Researcher/ Presenter

Commentators

1125-1205

Taipei/Shanghai

Moderator

Commentators Pure Yichun CHEN Amin FARID Makoto MATSUSHIMA Udayan VAJPEYI

Session 2: ASEAN cities network LIU Xiaoyi

1115-1125

Professor at Department of Dramatic Arts, Chulalongkorn University

0930-1030

Researcher/ Presenter

LEE Liheng

1025-1035

Bangkok

International Expert Presentation + Conversation

Pawit MAHASARINAND

Cultural Exchange Network Research - Report Presentation Moderators CHANG Ping Hung, Wallace

Admission

Hong Kong Bangkok

Conference Summary and Closing Danny YUNG Mathias WOO End of Day Two Progrm

Hong Kong Hong Kong

Adjunct Professor, Chinese University of Hong Kong & SPACE, University of Hong Kong Director, Bangkok Art and Culture Centre

Convenor and Co-Artistic Director, Zuni Icosahedron Convenor and Co-Artistic Director, Zuni Icosahedron

日程表

第二日 9 月 11 日（三）

第一日 9 月 10 日（二） 0915-0930 0930-0945

登記入場

歡迎詞及引言

榮念曾

香港

召集人及進念 • 二十面體聯合藝術總監

香港

香港大學建築學系副教授

鄭炳鴻

Pornrat DAMRHUNG 曼谷

報告一：一帶一路城市網絡研究員 / 報告人

李立亨

評論員

Özlem ECE NGUYEN Thi Thu Ha Udayan VAJPEYI 1025-1035 1035-1115

小休

1430-1500 1500-1515 1515-1530 1530-1700

1700

Raza 基金會終身信託人

紐約

亞洲協會環球演藝和特色文化倡議總監

新加坡

Pawit MAHASARINAND 曼谷小休

Filmgarde Cineplexes 創辦人及總監曼谷藝術文化中心總監

研究員 / 報告人

李集慶

新加坡

國際專家演講 + 對話 Pawit MAHASARINAND

0930-1030

講者

韓敏麗

講者

今村有策

評論員江駿傑劉曉義 Patravadi MEJUDHON Nattapon WANNAUN 1030-1045

耶魯 – 新加坡國立大學學院人文助理教授（劇場）

公眾討論及對話主持

鄭新文

（3）後國家文化交流評論員

東京藝術大學美術研究院環球藝術專業教授

香港

粵劇藝術家及編劇

曼谷合艾

華欣 Patravadi 學校創辦人、總監及導師

香港

香港中文大學及香港大學專業進修學院兼任教授

新加坡

避難階段創始人及藝術總監傳統泰國舞蹈家

柏林國際文化政策學院高級研究員及前歌德學院秘書長

金邊

新加坡

當代 / 柬埔寨傳統舞蹈家

紐約

亞洲協會環球演藝和特色文化倡議總監

新加坡曼谷

耶魯 – 新加坡國立大學學院人文助理教授（劇場）

日惹

古典爪哇舞蹈家

講者

文化交流網路研究項目：分組討論

Rachel COOPER

評論員李集慶 Pawit MAHASARINAND 沈昳麗 Didik Nini THOWOK

香港恒生大學社會科學系教授

參加者報告 1145-1200 1200-1245

1245-1300 1300

東京

台北 / 上海

藝術節和節目獨立策展人當代舞蹈家

（4）環球表演藝術交流 : 一個相互依存世界中的交匯

午休

第一天活動結束

當代舞藝術家及大學教師

Nget RADY Sabrina SNG

一帶一路傳統與當代藝術家演出示範及導賞

Raza 基金會終身信託人

傳統馬來舞蹈家

伊斯坦堡文化藝術基金會文化政策研究總監

柏林國際文化政策學院高級研究員及前歌德學院秘書長

東京藝術大學美術研究院環球藝術專業教授

小休

新德里

東京

伊斯坦堡

柏林

主持小結

博聞藝術基金會董事

新加坡

Özlem ECE

Hans-Georg KNOPP

分組討論

杭州 / 新加坡

Hans-Georg KNOPP 柏林李立亨

香港

Filmgarde Cineplexes 創辦人及總監

講者

博聞藝術基金會董事

主持

新加坡

小休

杭州/新加坡

主持小結

曼谷藝術文化中心總監

（2）何不嘗試另類和實驗性的國際文化交流？

陳奕蒓

東京

曼谷

（1）東盟藝術資助及文化交流的概念評論員陳奕蒓 Amin FARID 松島誠 Udayan VAJPEYI

1045-1145

報告三：大中華城市網絡

許焯權 1345-1430

新德里

Rachel COOPER

今村有策

1220-1345

越南國立文化藝術研究院藝術學院總監

伊斯坦堡文化藝術基金會文化政策研究總監

避難階段創始人及藝術總監

評論員

1205-1220

河內

伊斯坦堡

新加坡

韓敏麗

1125-1205

藝術節和節目獨立策展人

劉曉義評論員

1115-1125

台北 / 上海

報告二：東盟城市網絡研究員 / 報告人

朱拉隆功大學劇場藝術系教授

登記入場主持

文化交流網路研究項目：報告簡報主持

0945-1025

0915-0930

公眾討論及對話

上海

曼谷藝術文化中心總監跨界崑曲藝術家

小休

專家圓桌會議主持鄭新文

香港

香港中文大學及香港大學專業進修學院兼任教授

香港

會議召集人及進念 • 二十面體聯合藝術總監

Pawit MAHASARINAND 曼谷

總結及展望榮念曾胡恩威

會議結束

香港

曼谷藝術文化中心總監

會議召集人及進念 • 二十面體聯合藝術總監

Theme:

International Cultural Exchange – Strategies and the Future The situation and concept of global cultural exchange is facing dramatic changes partly due to China’s Belt and Road Initiative. How do we cope with the changes and turn them into opportunities? Therefore, solid knowledge-based planning would help to facilitate and empower the cultural sector to re-exam their role in the new world order...

From research report on cultural exchange model to expert presentation of international cases, the two-day program builds around the topic of formation of cultural exchange models and networks, with the theme “Strategies and the Future”. It will be an occasion for international experts and researchers to share their insight and research results with the industry and public audience, through presentations, panel discussions and demonstration performances. Furthermore, the initiative is not limited to the event date, but developed into a series of study programs for students, audience, cultural practitioners in different positions of the ecology. To reach beyond the rigid conference convention, the 2019 Hong Kong Belt Road Conference is structured as an executive education programme for cultural practitioners and future leaders, to get informed of global trends and to gain insights on international cultural practices and strategies. Participants will have the opportunity to interact with experts and researchers, for inspirational perspectives as well as practical knowledge that would be applicable in their work situation.

Overall Program (10-11 Sep 2019)

International Expert Presentation + Conversation

Cultural Exchange Network Research Report Presentation

主題：

國際文化交流⸺策略與未來世界文化交流的現況及概念正面對劇變，部分源自中國一帶一路倡議。我們如何處理變動？如何將變動轉為契機？

如何在變動中為前瞻思辯文化工作者建立智識基礎的文化網絡知庫？從文化交流應用研究至國際專家案例分享，為期兩天會議將以「策略與未來」為主題，圍繞文化交流模式和合作網絡等議題作互動討論。通過不同

地域和持分者的角度，針對文化發展提出不同層面的論述，旨在形成應用

策略和展望未來發展。通過演講、研究報告、研討會、示範表演等內容，

香港帶路會議將會是國際專家與研究員分享其視野和研究成果並進一步討論的重要場合。

2019 年的香港帶路會議以文化管理進修課程的模式進行，針對文化工作者

以及未來業界領袖，學習關於環球文化發展趨勢及應用策略。參加者將有機會與多名國際專家及研究員交流對話，從中獲得啟發性的新視野和實用性的知識，將可應用於其日常工作。

會議內容 (2019 年 9 月 10 日至 11 日 )

國際專家演講 + 對話

Group Workshop

文化交流網路研究項目：報告簡報分組討論

相關活動

Associated Activities

3 Belt-Road City Cultural Exchange Study Trip 4 Belt-Road Master Classes 5 One Belt One Road Experiemntal Theatre

The Interrupted Dream: Chinois Dream at Château de Versailles

3 帶路城市文化考察 4 帶路藝術大師班 5 一帶一路實驗劇場

《驚夢：凡爾賽宮的舊事》

2019

International Expert Presentation + Conversation Topic: International Perspective on Cultural Exchange Arts and cultural institutions, from state-linked cultural bureaus to private foundations, have played an important role in the development of a city’s cultural capital, which is increasingly emphasized as a crucial driver of urban growth along with political, social and economic development. Expert speakers from Europe, the United States, Japan, ASEAN and Singapore are invited to share their insights and forecasts on key cultural institutions and cultural exchange models. Following the presentations there will be a round-table discussion to initiate interactive discourses among the speakers, commentators, and other participants, on the applicability and potentiality of local and regional cultural exchange.

Presentation Title (1) Notions of Arts Funding and Cultural Exchange in ASEAN by Minli Han Singapore Founder and Director, Filmgarde Cineplexes

(2) Why not Alternative and Experimental International Cultural Exchange? by Yusaku Imamura Tokyo Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts

(3) Post-National Cultural Exchange

by Hans-Georg Knoop Berlin Senior Fellow, Hertie School of Governance, Berlin and Former General Secretary of the Goethe-Institut

(4) Global Performing Arts Exchange: Meetings in an Interdependent World

國際專家演講 + 對話題目：國際文化交流視野⸺文化機構的模式及角色國際文化交流直接關係到一個城市的文化資本，從半官方至私營資助等不同類型的文化機構及基金會對於推動文化交流正擔當越來越重要的角色。

專家研討會邀請來自歐洲，美國，日本和東盟及新加坡的專家講者分享他

們對主要文化機構及文化交流的見解與展望。及後通過圓桌研討會，讓專家以及各與會者之間有互動對談的機會，共同探討本地和周邊地區文化交流的應用及各種可能性。

演講主題（1）東盟藝術資助及文化交流的概念韓敏麗

新加坡 Filmgarde Cineplexes 創辦人及總監

（2）何不嘗試另類和實驗性的國際文化交流？今村有策東京

東京藝術大學美術研究院環球藝術專業教授

（3）後國家文化交流 Hans-Georg Knopp 柏林

柏林國際文化政策學院高級研究員及前歌德學院秘書長

（4）環球表演藝術交流 : 一個相互依存世界中的交匯 Rachel Cooper 紐約

亞洲協會環球演藝和特色文化倡議總監

by Rachel Cooper New York Director of Global Performing Arts and Special Cultural Initiatives, Asia Society

2019

Notions of Arts Funding and Cultural Exchange in ASEAN Minli Han Singapore Founder and Director, Filmgarde Cineplexes

Historical intersections and divergences in ASEAN have contributed to a region that is deeply diverse in cultures, political systems, languages and socio-economic development, and inter-competitive while connected by a certain sense of community and the need to band together for collective negotiating strength. With many countries in ASEAN still focused on developing their economies and maintaining social stability, the development of the arts and culture is at times side-lined or side-stepped as a result of resource scarcity or perceived misalignment or insignificance to the larger national agenda. This has had an impact on how the arts is positioned within the national landscape and psyche, including the relationship between the public, private and non-profit sectors. The notions and patterns of charitable giving and support for the arts are shaped by both personal motivations and the larger environment at play. Arts-specific or Artscentred Foundations are a relatively new concept in ASEAN as compared to their peers elsewhere in Asia and the West. Why this is so, perhaps speaks volume of the resonance that the arts strike (or not) amongst the people and of the structures within that facilitate or impede engagement with the arts. More common within ASEAN are Foundations who as part of their philanthropic direction, give support to select arts and cultural projects that meet their overall organizational goals and visions. Yet much of these projects tend to be inward-looking, focused on domestic issues rather than cross-border or international exchanges, with support for the arts resting on utilizing arts as a tool to achieve certain outcomes, than the recognition of arts for what it is. The concept and understanding of a ‘Foundation’ in ASEAN are also seemingly at times more fluid, with less emphasis placed on form, structure and sustainability versus established Arts Foundations and institutions. As such, it is still unclear how much of an impact or interest Foundations in ASEAN have in furthering the arts and culture, and the extent of their influence and effectiveness in promoting cultural exchange within the state, across the region and beyond. By taking a broad-stroke overview of the diversity of the types of Arts Foundations, or Foundations that support the arts in ASEAN, this presentation seeks to discuss the impact that they have on the trajectories of arts and cultural development both domestically and internationally, and identify the multiple ways in which non-governmental institutions can effect cultural exchanges as intended or unintended parties so as to build further knowledge towards future policy planning and implementation for the region and beyond.

東盟藝術資助及文化交流的槪念韓敏麗

新加坡 Filmgarde Cineplexes 創辦人及總監東盟歷史上的分歧與交集促使其成為一個在文化、政治、語言和社會經濟等方面都有多元發展的區域；同時成為一個既相互競爭，又互相聯繫的社區；亦使

東盟各國理解到聯合起來，爭取更大的談判力量的需要。不少東盟成員國依然把發展方向集中在經濟和維持社會穩定。由於資源窮乏、觀念上的偏差，而沒

有將文化放在國家議程，文化藝術發展都不是這些成員國的政策重點。因此影響到藝術在這些國家的定位，包括公私營機構和非牟利組織之間的關係。

支持藝術和慈善捐贈的概念和模式，多由個人動機及周遭環境所塑造。對比其他亞洲及西方國家，於東盟而言，藝術基金會是相對嶄新的概念。或者可以這樣說：當中的原因，也許來自藝術對人的（不）影響理解和體制內對於促進藝術

參與的阻力或助力。東盟裡比較普遍的是，基金會根據其理念和使命，挑選合適的文化藝術計畫予以捐助支持。不過，這些計畫多數是內向的，集中於國內

事務而不是跨地域或國際交流，而且多以藝術作為工具達到某種效益，而不是認同藝術的本質。

「基金會」在東盟的概念和認知也變得比以往流動，與具規模的藝術基金會相比，沒那麼強調形式、結構和可持續性。因此，東盟的基金會於國內、區間和

國際間為藝術文化發展所帶來的影響和利益依然不清晰。透過綜觀東盟各類藝

術基金會或其他支持藝術的基金會，這個報告會討論基金會對國內和國際文化藝術發展軌跡的影響，以及辨別非政府組織有意或無意地影響文化交流的各種方式，從而進一步了解東盟內外未來的政策規畫和實踐。

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Why not Alternative and Experimental International Cultural Exchange? Yusaku Imamura Tokyo Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts Could the cultural promotion conducted by the government as public diplomacy be a promotion of culture and what could we get from it?

When I was running Tokyo Wonder Site and serving as the counsellor on the special issue to the Governor of Tokyo Metropolitan Government, I did not try to promote or advertise Tokyo’s culture. I focused on the collaboration with artists from all over the world and contribution to the global society. I was concerned about the partnership, not on the mere networking or give-and-take relationship. I am convinced this processoriented international cultural exchange is more relevant than just showing packages for the introduction of culture. We usually recognize The Japan Foundation (established in 1972) as a representative organization for international cultural exchange activities in Japan but it has a very close relationship to the political agenda and public diplomacy. The establishment of the foundation itself was triggered by the Nixon shock (1971), which demonstrated the lack of communication between the United States and China, and also partially by the Japan-U.S. Summit Meeting (1972) that was held following the return of Okinawa to Japan. The lacking and the needs of public diplomacy were reaffirmed by the anti-Japanese demonstrations held during the Prime Minister’s visit to Southeast Asian countries in 1974.

Historically, the predecessor of the Japan Foundation was “Kokusai Bunka Shinkokai (KBS)” which was established in 1934 before WWII, under the administration of Ministry of Foreign Affairs. This establishment is influenced by the proposal of the International Intellectual Exchange Committee under the League of Nations in 1922, which was to become UNESCO in 1927. During wartime, this organization worked specifically for war-related issues often in form of public diplomacy project in South East Asia. After the war, KBS became privatized and played a key role in international cultural exchange until the establishment of the Japan Foundation in 1972. Cultural exchange programs in Asia was boosted by the monumental political transformations, such as Japan-China Joint Communique in 1972, Treaty of Peace and Friendship between Japan and China in 1978, the Japanese government’s announcement of the promotion of East Asian diplomacy and cultural exchange in 1977.

Following by the economic bubble of Japan in the 1990s, the ASEAN Cultural Centre was established in 1990 and so was the Asia Centre in 1995. The Asia Centre was once closed in 2004 but re-started its activity as a new entity in 2014, commemorating 50 years of the establishment of ASEAN and with a mandate to make closer tie with the rapid economically growing ASEAN countries. In response to such activities by the Japanese government, Tokyo Wonder Site (TWS) conducted international cultural exchange as an urban policy, rather than aiming at public diplomacy or soft power. For about 15 years since the beginning of the new century, Tokyo Wonder Site (TWS) has been providing an alternative platform not available in Japan’s traditional international cultural exchange. It was also a challenge to

何不嘗試另類和實驗性的國際文化交流？今村有策

東京東京藝術大學美術研究院環球藝術專業教授

政府以公共外交為目的作文化推廣，是否真的在推廣文化？我們從中可以獲得甚麼？

當我在營運 Tokyo Wonder Site ( 簡稱 TWS)，及擔任東京都政府知事特別事務參贊的時候，我沒有嘗試直接推廣或宣傳東京的文化。我選擇專注與來自世界各地藝術家的合作和對全球社會的貢獻。我關心的是深入的合作關係，而不僅是建立網絡或各取所需的關係。我深信，著重過程的國際文化交流比提供引入不同文化的套餐式服務來得有意義。

我們普遍都認為，成立於 1972 年的日本國際交流基金會，是日本國際文化交流的代表組織；但它跟政治議程和公共外交政策的關係十分密切。基金會的成立

是由 1971 年的尼克遜提出的一系列抗通漲措施所引發，既展示出中美之間的缺

乏溝通，部分亦反映日本與美國亦缺少溝通。1972 年，沖繩回歸日本統治，一場首腦峰會隨即展開。1974 年，日本首相訪東南亞國期間發生連串反日示威，反映當時公共外交的缺乏和重要性。

歷史上，日本國際交流基金會的前身，國際文化關係協會 (Kokusai Bunka

Shinkokai，簡稱 KBS) 於 1934 年二戰之前成立，由外交部管理。KBS 的成立主要受到 1927 年成立的聯合國教科文組織的前身 – 隸屬國際聯盟的國際知識交流

委員會於 1922 年提出的建議所影響。KBS 專責於戰時在東南亞執行有關戰爭的

外交計畫。戰後，直至 1972 年日本國際交流基金會成立，私有化的 KBS 繼續在國際文化交流扮演重要的角色。一連串重大的政治變革推動了亞洲文化交流，

例如 1972 年日中聯合公報、1978 年日中和平友好條約，以及 1977 年日本政府

宣布推動東亞外交和文化交流。隨著日本 90 年代的經濟泡沫，基金會於 1990 年成立東盟文化中心，亞洲中心亦於 1995 年成立。亞洲中心一度於 2004 年關

閉，但在 2014 年為紀念東盟成立 50 週年，已經重新運作，目的是與經濟快速增長的東盟國家建立更緊密的聯繫。

回應日本政府的這類活動，TWS 視國際文化交流為一種城市政策，而不是針對

外交或者軟實力。自新世紀開始以來約十五年，TWS 一直在提供日本傳統國際

文化交流所不具備的另類平台。怎樣開啓及提供一個文化政策中的另類而且富創意的實驗，對作為公營機構的 TWS 亦是一個挑戰。二戰後，東京是前衛藝術的先鋒實驗場所，各種不同的前衛藝術實驗於東京誔生：代謝運動、GUTAI、 JIKKEN KOBO ( 實驗工房 ) 、天井桟敷和舞踏等。然而，隨著城市的精緻化和風 15

2019

how, as a public institution, it could provide and opening up an alternative and creative experimentation in cultural policy. After WWII, Tokyo was a pioneering experimental site for avant-garde art. Metabolism, GUTAI, JIKKEN KOBO (experiment workshop), Tenjo Sajiki, BUTOH, and various avant-garde art experiments were born out of Tokyo. However, cities grew more sophisticated and stylized as they matured, and the chaotic and diverse fields for experimentation became narrower, particularly because the Japanese economy stagnated after its economic bubble, which is referred to the lost decades of Japan. Under such circumstances, in Tokyo, urban cultural policies and the activities of alternative art centres were exceptionally linked to the creation of the cultural policies and cultural foundations that had not existed in Tokyo or Japan until then. It went beyond the creation of alternative art centres, and reached from the creation of international festivals to the establishment of Arts Council.

TWS did not promote Tokyo’s Culture or Japan’s Culture. It focused on collaboration and contribution. For example, it did not promote Japanese traditional culture but it organized “Tradition and Future” project, creating new experimental productions intersecting Japan’s traditional culture and contemporary culture. International cultural exchange at TWS focused on interdisciplinary creative activity with process-oriented dialogue. While it did not focus on cultural promotion or public diplomacy, it turned out to be a big successful flagship that established deep understanding of Japanese and Tokyo culture, and that created a significantly friendship and trust within the participants. This knitted web created through TWS’s activity could be compared as like the constellation of the stars.

格化，實驗領域的多樣性和或然性變得越來越少，特別是「失落的十年」之後，日本經濟泡沫停滯不前。這種情況下，東京的城市文化政策和另類藝術中心的活動，與此前不存在於日本的文化政治和文化基金會建立了特殊的聯繫。它超越了另類藝術中心的創建，演化成創建國際藝術節，到藝術委員會的建立。

TWS 沒有宣傳東京文化或者日本文化，側重於合作和貢獻。例如，TWS 沒有

推廣日本傳統文化，反而主辦了「傳統與未來」，製作融合日本傳統文化和當代

文化的全新實驗作品。TWS 的國際文化交流著重跨界別的創作和過程導向的對

話。雖然沒有把重點放在文化推廣或公共外交上，但昰 TWS 結果變成了一個成

功的旗艦組織。它成功建立了參與者對日本和東京文化的深刻理解，並與他們建立了極大的友誼和信任。通過 TWS 創建的網絡可視作由星星連成的星座。

這種另類的方案總會提供一個不同的視角。文化交流可以從現有的傳統觀點和偏見中為我們提供了一種全新的、不同的視角。另類可以成為一種內化的文化交流。

The alternative always gives us a different perspective. Cultural exchange gives us a new and different perspective from existing conventional perspectives and preconception. Alternative could be an intrinsic way of cultural exchange.

2019

Post-national Cultural Exchange

後國家文化交流

Hans-Georg Knopp

Berlin Senior Fellow, Hertie School of Governance, Berlin and Former General Secretary of the Goethe-Institut To a cultural-relations practitioner of thirty years ago, today’s cultural landscape would be unrecognizable.

Looking back is not only important to understand historical developments, or how a general discourse of the time and cultural exchange are interrelated, but it provides a tool to understand how we dealt with challenges, in order to be prepared for the future.

In Germany and most European countries, it was the representation of an imagined cultural identity and a tool of the nation that has dominated cultural exchange after WW2. Basically it was called, the "shopping basket model", or in one word, "Representation". It was truly an exchange in the sense by the dictionary -- I show you what I have and you show me what you have. This model might be interesting in itself, but what made it all the more questionable was the fact that it was connected with the imagined superiority of the "western model", and the practice of cultural exchange with Asia, Africa, South America has showed that. This model was superseded by the "two-way model", especially in exchange with the so-called "3rd World", an idea that was developed in the 70s and 80s, but it basically did not change the old model. It was realised that a number of countries at the time did not have the economical means to support cultural exchange, therefore such countries were invited and the selection of artists depends on the host, i.e. the western countries and their national cultural bureaus. Rarely the art temples like opera houses, concert halls and theaters were responsible for such invitations. Such exchange was furthermore based on the idea that culture was an integral part of foreign policy and therefore dependent on it, and it builds on the concepts of static art and culture, with strict borders between the nations and the arts. Art and artists were put in the box of such ideas and were used for a purpose.

But during the late 80s and early 90s, it has already shown different models of societies and consequently of the arts. In an increasingly interconnected world, tensions opened up in societies, questions about majority and minorities arose, questions about the role of women, about definition and representation of culture, and new ideas became important of how communities can strive to live together in such environments. One project that has inspired many and opened up new ways of cultural exchange was the initiative "Reinventing Britain" in 1997 by Stuart Hall, himself from the Windrush generation, in which the House of World Cultures (Haus der Kulturen der Welt) participated as a partner.

European societies had changed, other people which were not of "our" culture has migrated to Europe. Hence the question arose -- who are "We" and who are "Them"? How are "We" and "Them" being represented? Who is a German artist? What is German Art and which is fit for exporting? Why and Who can be invited to participate in cultural exchange? Is there a modernity which is different from western modernity? Such questions had barely any influence on the practice of cultural exchange at that time, but it prepared the ground for coming changes. 18

2019

柏林柏林國際文化政策學院高級研究員及前歌德學院秘書長

面對當今的文化景觀，三十年前的文化藝術工作者大概會感到相當陌生。

回顧過去能讓我們了解歷史進程，就我們的角色而言，這有助理解該時期的一般論述如何與文化交流相互扣連。回顧過去同時能為我們提供一個窗口，釐清歷史上解決困局的方法，從而準備未來。

探索過去的歷史，德國及大部份歐洲國家，曾經是一種被認同的文化身份的代表；亦是在二戰後主導文化交流的國家工具。這就是所謂的「購物籃模式」，亦即是「象徵式」。照本宣科，交流本應是一種很直接的行為，即雙方互相展

示各所擁有的一個過程。這種模式看似有趣，但卻問題多多，因為這種交流強化了西方模式所想像的自我優勢。過往歐洲與亞洲、非洲、南美洲的文化交流中都存在這樣的問題。

此交流模式後來被「雙向模式」取代，這種轉變在與所謂「第三世界」國家交流

的情況下尤其明顯。這個源自 70 及 80 年代的概念並未能成功改變舊有思維，只

是凸顯出不同國家之間資源上的分別。在七、八十年代間，不少國家並未有足

夠經濟能力支持文化交流，因此所謂的跨國文化交流其實是依賴有能力的國家主動提出邀請。在這樣的設定下，東道主（即西方國家）理所當然是擁有選擇權的一方。發出邀請的通常都是國家部門，而藝術殿堂如歌劇院、音樂廳及劇院等則甚少負責對海外藝術家發出文化交流的邀請。

這種交流模式以文化作為外交政策的配套為前設，因此文化交流基本上需要依賴外交政策。交流以靜態藝術和文化作為基礎，而國家與藝術之間則有相當清晰嚴謹的界線。藝術和藝術家被框在這樣的設置下實現某種目的。

到了 80 年代末、90 年代初，社會模式經歷不少變化，多種新發展出的社會模式

也為藝術界帶來改變。緊張的國際局勢引申出多種社會議題，少數族裔、婦女角色、文化定義與其代表等等討論隨之而來。由此發展的新思維，成為各群體在新氣候下如何共存的重要一環。

於 1997 年，由疾風世代一員斯圖亞特 · 霍爾（Stuart Hall）發起、世界文化中心

（Haus der Kulturen der Welt）參與合辦的「重塑英國」活動成功啟發業者，並為文化交流帶來更多可能性。

來自「其他」文化的外來人口開始移居歐洲，歐洲的社會面貌亦隨之改變。新面貌引起一連串疑問：如何定義「我們」與「他們」？而「我們」與「他們」又是怎

Artistic practice at home has changed and the sociologist provided us with theoretical insight, with the first research in Germany about the global impact of migration published in 1990. The practice of cultural exchange did not sustain the change for long, in face of the resistance of administration.

Cultural exchange was still bound to the traditional practice of diplomacy, it remained a representation and it remained bilateral. As we live in a multipolar world that would require a multilateral practice, which is also the case in culture, yet it was only until about 10 years ago that it became a point of discussion.

It was high time to reinvent cultural exchange. A "static" concept of cultural exchange had to be replaced by a "fluid" concept, which reflected the many changes in societies and in the arts.

After the turn of the millennium and with the sudden rise of migration into Europe, all this has changed very fast. People and their culture from far-away countries have become the near neighbor.

20% of people living in Berlin do not have German passports, they came from 192 countries into the city and another 30% have one parent from a different country than Germany.

Such changes have an enormous influence on the artistic practice of cultural institutions within Germany and consequently on cultural exchange. One point is clear -- that inside and outside cannot be separated anymore. Meaning that cultural practice inside a country and cultural exchange to the outside world cannot be separated anymore. Both are an integral part of artistic practice and cultural funding. What is exhibited, what do theaters focus on, and is the canon of music unchanged? Who is running cultural institutions, and the whole questions of provenance research has an influence on new cultural institutions like the Humboldt Forum. It is the largest new cultural institute in Germany with cultural funding, housed in the reconstructed old castle of the former German emperor. The question is how do theaters, opera houses, and concert halls etc., to cope with these changes, which new forms will they find? Is cultural exchange recognized as an integral part of artistic practice? Suddenly nearly all cultural institutions were engaged in "international cultural exchange", new ideas and new forms of cultural exchange were invented, and the cultural foundations played an important part in supporting these changes. The presentation will highlight such examples and make clear how cultural exchange resisted new challenges, but also indicate how far we have come within the last thirty years. Cultural exchange reveals how we look at the world ourselves, and how we envisage to live together in our world.

樣的一種體現呢？那些人算是德國藝術家？哪些德國藝術適合作海外交流？為什麼要參與文化交流？哪些人有資格參與文化交流？西方現代性是唯一的現代性嗎？這些疑問雖然未能為當時的文化交流帶來實際影響，但卻為未來的改變奠下鞏固的根基。

本土的藝術氣候經歷改變的同時，社會學家亦為我們提供相關的理論分析。德國亦於 1990 年發表首個關於移民對全球影響的研究。可是，面對行政部門的反對聲音，文化交流的實踐並未能持續改變。

文化交流依舊受限於傳統外交手段，因此停滯在象徵性和雙邊的狀態。我們身

處多極化的世界，包括文化等各個方面都需要進行多邊實踐。不過這樣的模式在大概十年前仍舊停留在討論階段。

那是重塑文化交流的最佳時機。靜態的文化交流概念需要轉化為流動的概念，去反映出社會與藝術的蛻變。

踏入千禧年，移居歐洲各地的人數急劇上升，一切轉變來得非常突然。從前遙不可及的外國人和外來文化突然變成近在比鄰的生活一部份。

居住柏林的兩成人口並沒有持有德國護照，他們從 192 個國家移居到柏林。另外有三成人口的一方父母並非德國人。

這些變化對德國的藝術界別與文化機構產生巨大的影響，而文化交流亦因而受到影響。最明顯不過的轉變是內與外從此不能分割，即是國內的文化活動

不能割裂於對外的文化交流，兩者均是藝術活動及文化資助不可或缺的部份。展覽要展出什麼作品？劇場的方向重心是什麼？音樂的經典是否從未變更？誰

在經營文化機構？一系列關於物源研究的問題大大影響着像洪堡論壇這類型的新文化機構。洪堡論壇是德國最大的新文化機構，資金來自於文化資助，它座落於重建而成的前德意志皇帝舊城堡。值得探討的問題是劇院、歌劇院、音樂廳等場地如何面對改變，而它們又能發展出怎樣的新形式？文化交流是否已被

認定為藝術實踐的必要部份？幾乎所有文化機構都突然投身於國際文化交流活動，新的文化交流概念與形式亦隨之誕生，文化基金會在這些轉變中有着重要的角色。

我的演講將重點討論這些例子，並釐清文化交流何以對抗新挑戰。我們同時會

討論過去 30 年所經歷的變化。文化交流能夠展示我們如何看待這個世界，以及

展望我們在這個世界上共存的方式。

2019

Global Performing Arts Exchange: Meetings in an Interdependent World Rachel Cooper New York Director of Global Performing Arts and Special Cultural Initiatives, Asia Society

For centuries artistic exchange has been a component of cultural diplomacy. When countries/kingdoms have historically sent delegations to another country/realm they often included the best of their artists. Early records cite the King of Burma sending his retinue of dancers and musicians to China for example in the 11th century. Travel being what it was in those days, the group took months to arrive and once there they stayed for some months before taking the return trip. Fast forward to the 19th century, and the Italian Court sent beautiful pianos to the Court of Burma. They neglected to send piano teachers, however, the brilliant Burmese musicians created a new genre of Burmese music – sandaya -- that used retuned instruments and played traditional music in a new form. Performing Arts Exchange has developed more in-depth strategies over the last fifty years. This form of exchange has in many instances a deeper impact by virtue of greater context. In the exchanges that have involved actual people-to-people meetings, with exchanges being not only ‘watching’ as audience but experiencing the art forms and the artists with more context and in more experiential and hands-on exchanges.

In my 40 plus years of planning, organizing and experiencing cultural exchange with Asian performing artists, it has given me a perspective on the impact of these exchanges and the various approaches that have been brought into play. Starting in my early days at UCLA in California studying World Arts and Cultures to my current work over the past twenty-five years heading the performing arts programming at the Asia Society in New York, these exchanges have been the focus of my life’s work. Bringing artists from Hong Kong, China, Taiwan, and larger Asia including Indonesia, India, Sri Lanka, Myanmar, Iran, and among others. The work has included traditional forms as well as contemporary new work. The most successful exchange programs go beyond merely performances, but to deeper engagement. From an emphasis on merely artistic performances witnessed by audiences, to a much more rigorous and deeply felt interactions with the artists. At the heart, this allows us to move beyond seeing difference to an appreciation of a common humanity that takes myriad forms. The following presentation will explore these models and end with some considerations on what make up best practices for the future. In a sense it is the embodiment of these practices that will inform our next steps to engage as an inter-connected world. It is more important today than ever.

環球表演藝術交流：一個相互依存世界中的交匯顧麗采

紐約亞洲協會，環球演藝和特色文化倡議總監

文化交流數百年來都是文化外交的一部分。歷史上，當國家／王國差遣使團到

其他國家／領域時，往往會派出最優秀的藝術家。文獻記載，早於 11 世紀，緬甸國王便派遣舞者和樂手隨從到中國，此為一例。古時出遠門，使團耗上數月

抵達目的地，然後在當地待上好幾個月，才啟程回國。時至 19 世紀，義大利宮

延贈送雅緻鋼琴予緬甸王朝，卻忘記了差派鋼琴導師；緬甸音樂家才華洋溢，

結果創造了一種新的緬甸音樂―Sandaya―用重新調音的樂器，配以新形式演奏傳統音樂。

過去 50 年，「表演藝術交流」的策略發展愈發深入。因現今語境變得更廣闊，以

表演藝術來交流，在許多情況下，影響更深遠。在牽涉實際人們面對面的交流

中，所謂交流，並不只是作為觀眾去「觀看」，而是去體驗藝術、去了解其前文後理和與藝術家親身交流。

過去 40 多年裡，我與亞洲表演藝術家計劃、組織和體驗文化交流的經驗，為我提供一個角度去了解這些交流和其運作的方法。由早年在美國加州大學洛杉

磯分校修讀世界藝術和文化，時至今日已在紐約亞洲協會主管表演藝術節目 25

年，表演藝術交流一直都是我工作生涯的焦點。當中涵蓋傳統藝術和當代新作，引進香港、中國、台灣及印尼、印度、斯里蘭卡、緬甸、伊朗等其他亞洲

國家的藝術家。交流項目能夠成功，在於超越單純的表演，引發更深度的參與；重點不單是讓觀眾觀看藝術演出，而是與藝術家更認真、更深切地互動。這種交流的核心，讓我們由僅僅看見差異，到進一步欣賞形式多變的共同人性。

接着的滙報將探索這些交流模式，並以構成未來良好實踐的元素的幾點思考作結。某程度上，正正是這些良好實踐的體現，將啟發我們要在一個環環相扣的世界中連結起來。此時此刻，更顯重要。

2019

Cultural Exchange Network Research: Report Presentation A key conclusion of the conference last year is the recognition of pressing need of more in-depth researches on cultural exchange in the Belt and Road and ASEAN regions. Discussions on the importance and urgency of an independent civic think tank is resulting into proposals to a City-to-city Cultural Exchange Think Tank. As part of this year’s program, we are taking this initiative forward and develop into three applied research projects with in-depth discussions on (1) the Belt and Road , (2) ASEAN and (3) Greater China. It is hoped that relevant application strategies will be explored to help promote and expand the cultural exchange development in the local and surrounding areas.

City-to-City Cultural Exchange Networks Looking at city-to-city relationships within different regional networks, this research has a further goal to foster more city-to-city cultural exchange and collaboration. A common agenda is to be sought among the cities and respective cultural institutions through study trips, exploring the opportunities to establish a number of city-to-city cultural exchange networks. Research Cities

1. Belt-Road Athens, Berlin, Hanoi, Istanbul, New Delhi, Tel Aviv

Researcher: Lee Liheng Taipei / Shanghai Independent Curator for Arts Festivals and Program

2. ASEAN Bangkok, Ho Chi Minh City, Kuala Lumpur, Phnom Penh, Singapore, Yogyakarta

Researcher: Liu Xiaoyi Singapore Founder and Artistic Director, Emergency Stairs

3. Greater China Beijing, Chengdu, Nanjing, Nanning, Shanghai, Taipei

Researcher: Lee Chee Keng Singapore Assistant Professor of Humanities (Theatre Practice), Yale-NUS College

文化交流網路研究項目：報告簡報去年會議其中一個重要的討論成果，就是迫切需要對一帶一路以及東盟地區的文化交流進行更深入的研究。會議探討成立民間智庫的重要性和迫切

性，從而提出建立城市文化交流智庫的倡議。本年度的香港帶路會議將城市智庫的倡議推進成一系列的專題應用研究項目。以瞭解文化交流機制與

構建協作網路為目的，三個應用研究項目將以城市為單位，面向 (1) 一帶

一路、(2) 東盟及 (3) 大中華，提出相關應用策略以推動及拓展香港及周邊地區的文化交流發展。城市文化交流網路

針對理解各地區網絡中城際的關係，本研究框架有著主催更多城際文化交流與協作構建的進一步目標。通過考察活動探討城市及文化機構之間的共同議題，並尋求未來成立多個城際文化交流網絡的可能性。研究城市 1.

一帶一路雅典、柏林、河內、伊斯坦堡、新德里、特拉維夫研究員：李立亨台北 / 上海藝術節和節目獨立策展人

東盟曼谷、胡志明市、吉隆坡、金邊、新加坡、日惹研究員：劉曉義新加坡避難階段創始人及藝術總監

大中華北京、成都、南京、南寧、上海、台北

研究員：李集慶新加坡耶魯 – 新加坡國立大學學院人文助理教授（劇場）

2019

Connecting Cities with Events

What is crucial for inter-city culture exchange? Lee Liheng Taipei / Shanghai Independent Curator for Arts Festivals and Program In the book Eventful Cities: Cultural Management and Urban Revitalization, it takes the topic on the strategy and performance of “European Capital of Culture”. The authors stated that, “cities of today face two choices. Either they develop to meet the challenges created by the pace of global change, or they resist the impulse for transformation and stagnate.” To respond to these two choices, it is suggested that creating and promoting events will help, as “no city believes it is too small or too complex to enter the market of planning and producing events.” As this book has suggested, art and culture exchange are great, what people in the city need is “event”, to participate in person and share their feeling via social media. In China, most of the leaders in the government consider “festival, fair and convention”, are the three most useful types of event to promote the cities outward, and attract massive audience inward. However, when we plan to develop a culture center to create events as vehicles for inter-city exchange, some decision making with so-call Chinese characteristics have to be adjusted. To build an effective network in cities could help on this issue. Inter-city culture exchange is crucial for international cities to define their identities and mapping its status in the world. Planning and producing events are key drivers to achieve these goals. My research on 6 cities in the Belt and Road region (Athens, Berlin, Hanoi, Istanbul, New Delhi, and Tel Aviv) focus on what events should be presented and received for cultural exchange and why. Here below I have summarized the principles that my respondents have suggested to me. PREPARATION: Time for the preparation varies for different events, nevertheless, at least six months prior to the opening of the event is a must.

ATTITUDE: In many cases, the curators may only use their imagination to cover their lack of understanding in the local cultural scene. A mutual respect for local and international artists and the principle they insist is important.

FORM AND THEME: Presenting culture and art events or festivals are welcomed in the city. The form and theme of culture exchange varies for different events; contemporary, interactive, site-specific and co-production could attract more audience and media coverage. SUSTAINABILITY: The interest and taste of new and senior artists and the audience varies in different cities; a successful culture center should try to adherent the continuation of its vision. However, the events that the center presents should make certain adjustment for different audience and artists; this act depends on a team of stable staff with different advisors.

用活動來串連城市文化交流城市文化交流的關鍵是什麼 ? 李立亨

台北 / 上海藝術節和節目獨立策展人《文化節慶管理》，這本城市文化節慶設計管理經典之作的作者認為 : 城市文化藝

術在進行交流的同時，市民期待的是可以親身參與並透過新媒體分享的「活動」 (event)。與之相通的是，國內許多領導也都相信，「節展會」可以對外推廣城市形象，對內吸引人潮參與。

當我們在規劃和負責國際城市的「文化交流中心」之時，國際慣例的引入實屬必要。有效的國際城市人際與機構合作網絡，更可以讓這個中心的創建和運營獲

益良多。在我計劃前往進行研究訪談之旅的「一帶一路」相關六城裡 ( 雅典、柏

林、河內、伊斯坦堡、新德里、特拉維夫 )，河內是最值得作為「開發中國家」的案例城市，越南更是跟中國距離最近的國家。

以下是我在八月前往河內調研，五個文化機構負責人提出的原則性建議彙整 : 一、時間 : 任何國際交流活動的籌備時間，不應該低於六個月。

二、態度 : 國際交流活動的規劃，必須對於國內與國際參與者，抱持相互尊重跟對等的態度。

三、主題 : 活動與節慶的設計跟執行，形式與內容都應該兼顧「當代性」。即便是傳統主題的展覽或活動，也應該透過當代性的設計才會吸引人。

四、運營 : 不同城市的藝術家與觀眾，他們的品味跟期待不盡相同。在地的顧問及合作機構，可以幫助文化中心進行相對應的調整。如何用活動串聯城市的文化藝術交流 ?

河內的受訪者屢次提到，「當代性」的思維和作法非常必要。設定文化中心的主

體性來規劃，透過當代性思維並結合在地化網絡的「兩條腿」來執行，顯然是可以參考的方向。

“Contemporary” is the key word that I have heard from my respondents again and again in the interviews. If traditional matters have to be presented, modern idea should be merged into it to bring out contemporary characters or content. I believe that connecting cities with events should take contemporary theme and form into account especially for the Chinese Culture Center to be built.

2019

Asian Corner:

Investigation and Propositions for Cultural Exchanges in Six Southeast Asian Cities Liu Xiaoyi Singapore Founder and Artistic Director, Emergency Stairs

Assistant Researcher: Grace Khoo

Propositions

This strategic research identifies six Southeast Asian cities - Ho Chi Minh City, Bangkok, Phnom Penh, Kuala Lumpur, Yogyakarta and Singapore – and a total of twelve cultural and artistic institutions - to investigate the intersectional cultural environments of each city, the challenges and coping strategies of each institution. This research attempts to find alternative models for cultural exchanges through comparison, analysis and strategic planning.

This research paper proposes four strategies to developing an alternative model:

Strategy Sharing The general practice of one institution may provide a new direction for another. If we can use this body of research as the springboard to organize, compare, analyze and share different strategies, it may trigger a host of new possibilities for these cultural institutions and help discover innovative problem-solving methods for the future development of cultural exchanges.

Current Challenges

The initial findings show that the challenge of cultural exchange in each city is mainly manifested in the form of deficient long-term resources.

Resource Integration Although each institution has a different focus on the area of cultural exchanges, there are numerous projects with immense collaborative potential. If these projects can be developed from the mindsets of “fighting alone” to “ganging up”, then it is possible to integrate resources secured by different institutions in their respective cities and concentrate their firepower on in-depth and meaningful exchanges.

The available resources allocated or made available to cultural and artistic institutions within each city and each institution differ. However, resourcebased issues in the capacities of program funding and venue support pose mammoth challenges for cultural exchanges. In cities that face a dearth in official financial support, art institutions need to sustain their operations through a multiplicity of coping mechanisms. They display signs of being significantly overwhelmed by exchange-driven activities that require substantial resources. In cities with official financial support, art institutions struggle to fulfill the official Key Performance Indicators (KPIs). Most of these KPIs point to short-term and quantitative outcomes, making art institutions exhaust considerable time and effort to meet the requirements of the funders. This is contrary to the pursuit of long-term and in-depth development of cultural exchanges.

Leadership Cultivation To alter the perpetual dilemma of art institutions and artists’ survival, key players cannot passively rely on system-led changes and wait to be affected by incoming environmental shifts. This places the onus on artists to become leaders with a macro perspective and capabilities to traverse between different systemic frameworks. Cultural leadership demands constant dialogue, negotiation and criticism of different frameworks and their boundaries. Network Development To achieve the above three strategies and implement robust long-term exchanges, a more forward-looking and proactive network must be established. Art and cultural i n s t i t u t i o n s a n d a r t i s t s c a n t h e n e n ga g e i n continuous learning, dialogue, and development.

Each institution has undertaken various measures to combat the challenges of resource scarcity. This includes: negotiating with the government proactively, seeking support from private or diplomacy-driven foundations and philanthropic avenues (usually in the form of private donors), developing and delivering commercial projects, i n c u b a t i n g l e a d e r s w i t h re s o u rc e - b u i l d i n g capabilities, and so on. However, none of these has solved the problem effectively and completely.

亞洲困境

——東南亞六城文化交流的調查與提議

劉曉義

新加坡避難階段創始人及藝術總監

助理研究員：邱子睿

未來提議

這策略性研究選擇了東南亞六個城市⸺胡

志明市、曼谷、金邊、吉隆坡、日惹和新加

該研究建議可以通過四個策略來尋找一種另類

坡⸺總共十二個文化藝術組織，調查了各個

可能：

城市的文化環境，各個組織對於文化交流的挑戰和應對策略，試圖通過比較、分析和策劃，

策略共享某一個組織的常規做法，可能提供

尋找文化交流的另類可能。

給另一個組織新的思考方向。如果能夠通過該研究，對這些不同策略進行整理、比較、分析

現狀挑戰

和共享，也許能夠為這些文化組織提供很多新

的可能性，協助他們在未來發展文化交流時，

經過初步調查，各個城市的文化交流困境主要

尋找到新的解決問題的方式。

展現在：長期資源的缺失。

每個城市和組織的資源情況不盡相同。但是，

資源整合每個組織對於交流的側重點雖然不

的巨大挑戰。缺少官方資金支持的城市，藝術

如果這些項目能夠從「單打獨鬥」發展成為「借

同，但是其中有許多有潛力進行合作的項目。

資金和場地等等資源問題都是文化交流所面臨

力打力」，那麼，就可以整合不同組織在各自城

組織需要通過各種其它方式維持自身的運作，

市裡能夠爭取到的資源，集中火力進行深入的

對於需要耗費大量資源的交流活動更加不堪重

交流活動。

負。擁有官方資金支持的城市，藝術組織則疲於應對官方所提出的關鍵績效指標（KPI）。這些

人才培養要改變藝術組織和藝術家的生存困

指標大多都指向了短期的和量化的成果，使得

境，不能被動依賴體制和環境的改變。這就要

藝術組織耗費大量的時間和精力去符合出資方

求藝術家必須成為具有宏觀視角的領導人才，

的要求。這與文化交流追求長期的和深入的發

自由遊走於不同的框架之間，不斷與不同框架

展相悖。

及其邊緣進行對話、協商並對其批判。

對於應對資源的挑戰，各個組織都採取了各種

網絡發展要實現以上三個策略，以及進行長

應對措施。這包括了：更加大膽與主動地與官

期的交流，一個更有前瞻性和主動性的網絡必

展商業性項目、培養具有爭取資源能力的藝

就可以進行相互學習、對話和發展。

方協商、爭取基金會和私人機構等的支持、發

須建立起來。跨城市的藝術組織和藝術家們，

術領導人才等等。但這些都還未有效地解決

該研究希望在未來階段進一步提出以上建議的

問題。

具體方案。

This research will attempt to further propose specific proposals for the strategies as stated above.

2019

Culture. Exchange. Lee Chee Keng Singapore Assistant Professor of Humanities (Theatre Practice), Yale-NUS College There is urgency and potentiality to fundamentally examine and rethink cultural exchange. Standing at this juncture, looking around us, I cannot help but admire the dreamers and supporters behind the Cultural Exchange Network Research project for their foresight. Parallel to networks and alliances of nation states that are being visibly built and developed, countries and communities are also separating and differentiating themselves from groups or unions they are in. The questions that stare at me insistently as I sit down to plan my research journey and questions are: What roles can cultural exchange play in today’s world? How would cultural exchange play those roles? When culture is associated with nation state, culture tends to be discussed in terms of “soft power”, cultural exchange tends to be discussed in terms of strategies for developing and asserting soft power. Strategies are motivated and informed by desired outcomes and driven by the demands of national interests. Growing up in Singapore, I have internalized maintenance of survival space to be the primary demand of national interest. From this point of view, cultural exchange plays the role of maintaining and, perhaps more importantly, developing survival space of a nation state in relation to other nation states.

What is needed for cultural exchange to play its role effectively? The list will include: objectives, approaches, resources, capabilities, and policies. This list guides the questions I ask when visiting and studying the cities I identified. What are the objectives and desires? What approaches are taken? What resources – cultural, media, human – are involved? What are the existing capabilities available? What are the guiding policies? These questions provide the foundations of my inquiry when I study the various cities identifies. Besides Taiwan, all other cities I plan to study are on mainland China, providing me with the opportunity to examine what and how cultural exchanges take place between these individual cities and cities outside China, and eventually compare the approach and strategies taken but the different cities.

文化。交流

2019

李集慶

新加坡耶魯 – 新加坡國立大學學院人文助理教授（劇場）眼下正適從根本上重新思考文化交流的時機。放眼四周發生的一切，此時此刻，我不得不佩服文化交流網絡研究計劃背後的夢想家和支持者們的眼界和遠見。在邦國之間高調互表友好、建立關係的同時，一些社群與國家，也在努力

地從所屬的聯盟脫離出來或者區分開來。當我坐下來思索我對這個研究項目能有什麼貢獻時，我不得不面對這樣一個基本問題：當下，文化交流能擔任什麼任務？文化交流如何擔當起這些任務？

當我們把「文化」和「邦國」放在一起談論的時候，我們習慣地帶上「軟實力」的眼鏡，從戰略和影響的角度來談論文化交流。戰略是由目的和利益牽引的。

生長在新加坡，我很自然地相信，國家利益的首要考量是生存空間的維護和擴

展。以此類推，文化交流的首要任務，便是在本國與他國的關係上，維護和擴展本國的生存空間。

那麼，文化交流需要哪些條件才能完成這樣的任務？我們可姑且列出：目的、

原則、資源、能力、政策 / 措施，這幾個重點，並延伸出一些我在觀察各個城市時關注的問題：城市在推動文化交流的目的和願景是什麼？這些城市裡的文化交流活動由哪些人在做？他們從什麼層面上去着手？他們以哪些資源來做文化

交流？他們完成了哪些文化交流活動？這些活動的對象（交流對象、觀眾對象）有誰？交流活動有什麼後續？

在梳理和分析這些經驗，並展望未來的文化交流模式的同時，我們或許也應該對「文化」與「交流」做新的思考與定位。

Through these research encounters, I arrive at the juncture that requires an examination of how “culture” and “exchange” are understood. What represents culture? What does “culture” represent? What does exchange entail?

Belt-Road City Cultural Exchange Study Trip Under the overall initiative of the Hong Kong Belt-Road City-to-City Cultural Exchange Conference, the study trip aims to enhance understanding of cultural development and exchange in the Belt-Road cities, to nurture the next generation of cultural practitioners with the skillset and vision for global exchange. A cohort of young and emerging cultural practitioners from different arts organisations in Hong Kong visited various cultural institutions in Bangkok and Huahin during the 7-day study trip, to meet and interact with scholars, officials, artists and fellow cultural practitioners in Thailand. A number of post-trip workshops were held for participants to share the experience and discuss findings from the visit, and to explore and formulate ideas and plans collectively on cultural exchange practices. Cultural Institutions visited in Bangkok and Huahin

Bangkok Art and Culture Centre Bangkok International Performing Arts Meeting (BIPAM) Bangkok Museum of Contemporary Art Burapha University Chulalongkorn University Fullfat Theatre Illusion CGI Thailand Mrigadayavan Summer Palace of Kind Rams VI (Huahin) Patravadi School Huahin Thailand Creative & Design Centre (TCDC) Tookkaton, Thai Puppet Museum & Theatre UNESCO Bangkok

帶路城市文化考察

2019

Study Trip Cohort

考察團成員

CHAN Ka Yan, Myra

HUI Chun Kit, Cyrus

HUI Hiu Yan, Queenie

Project Coordinator, Videotage 錄影太奇項目統籌

Artistic Director, Siu Lung Fung Dance Theatre

Administration Officer, 1a space

JIN Minhua

LAI Lok Ting, Erica

LAM Sze Wing, Yvonne

Deputy Editor, China Today (Traditional Chinese)

Orchestra Personnel Manager, The Hong Kong Philharmonic Orchestra 香港管弦樂團樂團人事經理

Arts-in-School Senior Officer, Hong Kong Arts Development Council

LAM Wai Yee, Shanice

MAK Hiu Tung, Scarlet

WONG Yan Mat, Emma

Assistant Manager, Building Management, Ko Shan Theatre, LCSD

Programme and Communications Officer, Chung Ying Theatre Company

Arts-in-School Officer, Hong Kong Arts Development Council

陳嘉欣

金敏華

「帶路城市文化考察」是今年香港帶路城市文化交流會議的其中一個相關活

動，旨在讓本地藝文新進加深瞭解帶路城市文化發展，培育下一代具視野的交流人才。一群來自香港各個藝文團體的青年新進文化工作者進行了為

《今日中國》（繁體版）執行主編

許俊傑

小龍鳳舞蹈劇場藝術總監

黎樂婷

期 7 天的考察，到訪泰國曼谷及華欣不同的藝文組織，與當地的學者、藝

許曉昕

1a 空間行政主任

林思穎

香港藝術發展局校園藝術高級主任

術家及文化工作者深入交流。學員於考察回港後，於幾次工作坊分享討論考察訪問的經驗與感想，並共同探討及草擬對文化交流的想法與計畫。曼谷及華欣參訪機構曼谷藝術及文化中心

曼谷國際表演藝術論壇

朱拉隆功大學

Fullfat 劇場

曼谷當代藝術博物館 Illusion CGI 工作室

華欣 Patravadi 學校

Tookkatoon 木偶劇場

泰國東方大學

美麗閣夏宮（華欣）

泰國創意設計中心

聯合國教科文組織曼谷分部

林慧怡

康樂及文化事務署樓宇管理副經理 ( 高山劇場 )

麥曉彤

中英劇團節目及傳訊主任

黃欣蜜

香港藝術發展局校園藝術主任

Belt-Road Master Classes The Belt and Road performing arts master classes advocate dialogue and interaction amongst maestros of Intangible Cultural Heritage (Performing Arts) and contemporary performing arts from Yogyakarta, Phnom Penh, Tokyo, Shanghai, Hat Yai, Singapore and Hong Kong. The experimental and crosscultural performance demonstration features art forms from both traditional and contemporary theatre including traditional Javanese dance of Indonesia, traditional Cambodian dance, Kunqu opera, contemporary dance/ theatre, Thai traditional dance, Cantonese opera and traditional Malay dance.

Cross-Cultural Workshops (5 & 6 Sept) 1. Classical Javanese Dance and Chinese Kunqu Artists: Shen Yili (Shanghai), Didik Nini Thowok (Yogyakarta)

2. Traditional Cambodian Dance and Japan Contemporary Dance Theatre Artists: Makoto Matsushima (Tokyo), Nget Rady (Phnom Penh)

One Belt One Road Traditional/ Contemporary Arts Demonstration and Guided Arts Appreciation (4 & 10 Sept)

Performance - The Interrupted Dream: Chinois Dream at Château de Versailles (12 to 14 Sept) Artists from Belt-Road cities Amin Farid (Singapore) Jason Kong (Hong Kong) Nget Rady (Phnom Penh) Sabrina Sng (Singapore) Nattapon Wannaun (Hat Yai)

Nerve (Steve Hui) (Hong Kong) Makoto Matsushima (Tokyo) Shen Yili (Shanghai) Didik Nini Thowok (Yogyakarta)

帶路藝術大師班帶路藝術大師班推動日惹、金邊、東京、上海、合艾、新加坡和香港的非物質文化遺產 ( 表演藝術 ) 大師及當代表演藝術大師交流學習，藝術形

式包括印尼傳統爪哇舞蹈、柬埔寨傳統舞蹈、崑劇、當代舞蹈 / 劇場、泰國傳統舞蹈、粵劇及傳統馬來舞。

跨文化工作坊（9 月 5 及 6 日）

1. 印尼傳統爪哇舞與中國崑劇

藝術家：沈昳麗（上海）、Didik Nini Thowok（日惹）

2. 柬埔寨傳統舞與日本當代舞蹈劇場跨文化工作坊藝術家：松島誠（東京）、Nget Rady（金邊）

一帶一路傳統與當代藝術家演出示範及導賞（9 月 4 日及 10 日）演出 – 驚夢：凡爾賽宮的舊事（9 月 12 日至 14 日）帶路藝術家 Amin Farid（新加坡）江駿傑（香港） Nget Rady（金邊） Sabrina Sng（新加坡） Nattapon Wannaun（合艾）

許敖山 ( 香港 ) 松島誠（東京）沈昳麗（上海） Didik Nini Thowok（日惹）

學術合作機構香港兆基創意書院上海崑劇團華欣 Patravadi 學校避難階段

Academic Partners HKICC Lee Shau Kee School of Creativity Shanghai Kun Opera Troupe Patravadi School Hua Hin Emergency Stairs

2019

Performance One Belt One Road Experimental Theatre The Interrupted Dream: Chinois Dream at Château de Versailles Disrupted Historical Records in a Museum

The Interrupted Dream is about disrupted historical records in a museum. Danny Yung, a pioneer of cross-cultural experimental theatre practice, imagines the wake of Chinoiserie at the Palace of Versailles in the 17th century through the setting of a museum. Audience at the Grand theatre seated on stage are introduced to the lustful reality of The Interrupted Dream, experiencing how the East and the West mirror and interact with each other.

The Interrupted Dream is conceptualized by Asian artists from different performing art backgrounds – Classical Javanese dancer Didik Nini Thowok has always been fascinated by the concept of The Peony Pavilion, as well as Kunqu as an art form. A while ago, he translated Shan Po Yang, a song of the lead female character Du Liniang from The Interrupted Dream, one of the most famous excerpts in The Peony Pavilion, into Indonesian, and composed a new melody for it. This work then became the prelude scene of Danny Yung’s The Interrupted Dream. Together with Shen Yili, a seasoned Kunqu (traditional Chinese theatre) lead actress from Shanghai; Nget Rady, a contemporary/traditional dancer from Phnom Penh; and Makoto Matsushima, a renowned contemporary dancer/choreographer/theatre performer from Tokyo, the show epitomizes a cultural exchange among Asian cultures, and a meeting between traditional and contemporary theatre.

演出一帶一路實驗劇場

2019

驚夢：凡爾賽宮的舊事翻天覆地精神錯亂的歷史檔案

《驚夢》是博物館裡館藏的一些翻天覆地精神錯亂的歷史檔案。跨文化實驗劇場先鋒榮念曾假借博物館的場景去幻想十七世紀凡爾賽宮庭裡歐洲中國熱的碎片。這些碎片將就坐在大劇院舞臺上的觀眾，帶進《驚夢》的情色劇場，經驗一場法國宮廷式的中國夢，參與一次東西文化的對照與跨越。

《驚夢》的創作由不同文化、不同表演藝術背景的亞洲藝術大師開始 – 印尼日惹古典爪哇舞蹈及跨性別表演藝術家 Didik Nini Thowok 一直對《牡丹亭》的概念及崑劇劇場的形式情有獨鍾。他年前將《牡丹亭．驚夢》【山坡

羊】的文字翻譯成印尼文並譜曲，成為這次實驗跨文化交流《驚夢》的序幕。演出聯同上海中國崑劇資深旦角沈昳麗、金邊傳統與當代舞蹈家 Nget

Rady、東京當代舞蹈 / 劇場表演藝術家松島誠，進行亞洲文化帶路交流、傳統與當代劇場的交會。 9 月 12 日 8:15pm

9 月 13 日 4:00pm 9 月 14 日 8:15pm

香港文化中心大劇院

Sept 12 8:15pm, Sept 13 4:00pm, Sept 14 8:15pm Grand Theatre, Hong Kong Cultural Centre

Conference Convenors 會議召集人 2019

collaboration. As director, scriptwriter, producer and stage designer, Yung has created over 100 theatrical productions, which have widely toured to over 30 cities in North America, Europe, and Asia.

Yung is the creator of cross-disciplined and crossregion Tian Tian Xiang Shang conceptual comics. TTXS has become an iconic figure in creative industry and education sector. It's exhibition and educational program have reached out to Europe, America and Asia. On- and off-stage, Yung is an enthusiastic protagonist for innovation in cultural policy, cultural exchange, institutional development and creative education.

Danny YUNG

榮念曾

Mathias WOO

胡恩威

華人實驗藝術先驅，香港及鄰近地區最俱影響

力的藝術家。進念 • 二十面體的創團成員及聯合藝術總監。

An experimental art pioneer, Danny Yung is a founding member cum Co-Artistic Director of Zuni Icosahedron. Yung is widely regarded as most influential artist in Hong Kong and the neighbouring regions, and an advocate in experimental arts and new art forms.

2014 年，榮獲福岡亞洲文化獎 ― 藝術文化

獎。2009 年，榮獲德國聯邦十字絲帶勳章，表

揚其推動香港德國兩地交流的成就。2008 年憑

《荒山淚》獲聯合國教科文組織國際戲劇協會授

In 2014, Yung is the laureate of the 2014 Fukuoka Prize – Arts and Cultural Prize. In 2009, Yung was conferred the Merit Cross of the Order of Merit on Ribbon by the Federal Republic of Germany in recognition of his contribution to the arts and cultural exchange between Germany and Hong Kong. In 2008, with Tears of Barren Hill he was honoured the Music Theatre NOW Award by UNESCO's International Theatre Institute.

予 Music Theatre NOW 大獎。

自 1997 年起，榮氏策畫及建立了多個重要文化

網絡，包括「亞洲藝術網絡」、「亞太表演藝術

網絡」及「世界文化論壇聯盟」等。榮氏主催的

「城市文化交流會議」已經連續運作超過 20 年，

是首個全球唯一以城市為單位進行的、有計劃及持續的華人交流項目。

Beginning in 1997, Yung has initiated several important cultural and arts networks. Among them are the Asia Arts Net, Asia Performing Arts Network, and World Culture Forum. The City-toCity Cultural Exchange Conference initiated by Yung has been held for more than 20 consecutive years, and is the premier and the only exchange program conducted among Chinese speaking regions and on a city-to-city basis.

榮氏投入劇場、漫畫、錄像及電影、視覺藝術

及裝置藝術等創作超過四十年。以舞台上下為

交流平台，廣邀來自不同地區、不同文化傳統的知名與新晉藝術家跨界創作。榮氏策畫、製作及導演的作品逾百部，曾赴亞洲及歐美三十多個城市演出及交流。

In the past 40 years, he has been actively engaged in various fields of the arts, including theatre, film and video, comics, as well as visual and installation art. Yung has contributed significantly to the provision of a platform for both acclaimed a n d e m e r g i n g a r t i s t s t o ex p l o re a n d c a r r y out cross-disciplinary and cross-cultural

榮氏是跨界別跨地域「天天向上」概念漫畫的始創人，其創意展覽及教育活動遍及歐、美、亞洲。創作以外，榮氏致力推動文化政策創新、文化機構發展、文化交流及創意教育。

Mathias Woo is the Co-Artistic Director cum Executive Director of Zuni Icosahedron. He joined the arts collective Zuni Icosahedron in 1988. Over the years he has created more than 80 theatre works. As a scriptwriter, director, producer and curator, Woo is a pioneer in cross-boundary and multi-media theatre. Mathias Woo’s theatre works were invited to present around the globe in cities like Shanghai, Beijing, Taipei, Singapore, Milan, Berlin and Krakow of Poland. Woo’s theatre works cover a wide range of topics, such as literature, history, politics and current affairs, architecture and religion. Woo initiated and curated “Architecture is Art Festival”, “Z Innovation Lab” and “National Arts Education Programme” that explored the artistic potential of architecture, technology and Chinese culture with different art forms. Recent work “The Architecture of The City” won a Silver Award at the 2018 DFA Design for Asia Awards and a Silver A’ Design Award in Performing Arts in 2019.

member of the Jiangsu Provincial CPPCC. Woo also actively advocated the development of creative arts education in Hong Kong. He is co-founder and the Deputy Supervisor of HKICC Lee Shau Kee School of Creativity.

進念 • 二十體聯合藝術總監暨行政總裁。香港跨媒體文化人。1988 年參加進念 • 二十面體。導演、編劇及設計的劇場作品逾八十齣。作品應邀於上海、北京、台北、新加坡、米蘭、柏林、波蘭等地上演。創作涵蓋文學、歷史、時

政、建築、宗教等主題。先後策畫「建築是藝

術節」、「舞台創新實驗室」、「國民藝術教育計

畫」，探索建築、科技和中華文化與劇場的各種藝術可能。近期作品《建築城市》(2018) 獲頒

DFA亞洲最具影響力優秀設計獎2018–銀獎及A’ 國際設計大奬賽表演藝術類別銀奬。

In 2006, Woo was appointed by the government of the HKSAR as a member of Public Service Broadcasting Review Committee, and also a member of the Advisory Groups (Performing Arts and Tourism) of the Consultative Committee on the Core Arts and Cultural Facilities of the West Kowloon Cultural District; in 2009, Woo was appointed member of the Task Force on Economic Challenges by the Chief Executive and in 2010-2015 he was a member of Hong Kong-Taiwan Cultural Co-operation Committee. In 2018, he was appointed by the People’s Republic of China as a

胡恩威曾參與公職包括：公共廣播服務檢討委

員會成員 (2006)、西九龍文化區表演藝術與旅遊小組成員 (2006)，香港經濟機遇委員會成員 (2009) 及港台文化合作委員會委員 (2010-

2015)。2018年獲中華人民共和國委任為江蘇省政協委員。胡恩威同時積極關注香港創意藝術

教育發展，創立香港兆基創意書院，現任該校副校監。

International Experts 國際專家 New York 紐約

Rachel COOPER

Berlin 柏林

Cooper was awarded a Best Practices Award for Cultural Diplomacy; Excellence in Presenting Diversity through the arts in New York, Dawson Award for Sustained Programmatic Excellence at Asia Society from the Association of Performing Arts Presenters (APAP), 'Izzy' award for innovative programming for the Festival of Indonesia In Performance.

顧麗采

Director of Global Performing Arts and Special Cultural Initiatives, Asia Society

亞洲協會環球演藝和特色文化倡議總監

Ms. Cooper is the co-founder and former director of the San Francisco-based Balinese music and dance company, Gamelan Sekar Jaya. She serves on the Board of Directors for Cambodian Living Arts and organization dedicated to the vitality of the arts in Cambodia and the greater Mekong region, Cooper is an advisor for the Aga Khan Music Initiative, Doris Duke Foundation for Islamic Arts and Zuni Icosahedron.

Rachel Cooper has extensive experience in the arts- from commissions, international exchanges, touring and production. She has presented over 500 performances of traditional and contemporary Asian performing arts at the Asia Society and at venues across the U.S.. She is committed to an interdisciplinary and collaborative approach, which strives to connect artists and audiences. She has commissioned and produced numerous new works with many artists including Yin Mei, Chen Shi-zheng, Bun-ching Lam, Philip Glass, Vijay Iyer, Eiko and Koma, among others. She has organized large-scale festivals including Festival of Indonesia In Performance, Festival of Korea, Muslim Voices; Arts and Ideas.

顧麗采被公認為表演藝術界的翹楚，在呈獻及推廣亞洲與美籍亞裔藝術家富深厚文化的傳統 /

當代作品上有卓越貢獻。她常在各大主要研討會及媒體（如 CNN、ABC、WNYC、紐約時報）上

就亞洲表演藝術、國際藝術交流及文化外交發表評論。此外，她亦委約、製作及舉辦音樂、

Prior to working at the Asia Society Cooper directed the Festival of Indonesia In Performance which produced twelve traditional and contemporary performing arts companies from Indonesia toured them across the United States. She has served as an advisor on several television documentary programs, including the eight-part PBS series DANCING, which focused on the role of dance around the world; and Distant Lives, a PBS documentary on Balinese music and dance. She is currently an advisory Libraries on Fire a film series that looks at history through the eyes of elders of traditions in Asia.

舞蹈、歌劇及戲劇等當代藝術表演。顧麗采獲獎無數，當中包括由美國表演藝術經紀人協會頒發的 Dawson 卓越藝術策劃獎、紐約市曼哈頓

行政區多元文化維護獎、美國全球公民外交最

2019

Hans-Georg KNOPP Senior Fellow, Hertie School of Governance, Berlin, and Former General Secretary of the Goethe-Institut

柏林國際文化政策學院高級研究員及前歌德學院秘書長

超過 40 年參與國際文化交流活動經驗。梵語博

Hans-Georg Knopp has an experience of more than 40 years in international cultural exchange. He studied Indology, Arabic Languages and Culture and Sociology. His PhD was in Sanskrit.

士，曾就讀印度學、阿拉伯語言及文化社會學。 1976 年加入歌德學院，工作範圍包括孟買、哥

林堡、雅加達、新加坡和芝加哥。2006 年至

In 1976 he joined the Goethe-Institut and worked in Bombay/Mumbai, in Colombo, Jakarta, Singapore and Chicago. From 2006 until 2012, he was Secretary General (CEO) of the Goethe-Institut overseeing all of the Goethe-Institut worldwide.

2012 年間擔任歌德學院祕書長，管理全球的歌

德學院。1996 年至 2006 年間擔任柏林世界文

化中心總監。柏林世界文化中心建立於 1989 年，為德國主要藝術文化機構之一，致力促進

From 1996 until 2006 he was director of the House of World Cultures in Berlin, one of the major arts institutes in Germany which was founded in 1989 to focus on international cultural exchange.

國際間文化交流。後獲上海戲劇學院邀請擔任

國際高級戰略顧問。屢獲中國多間大學邀請，曾擔任同濟大學客席教授。

Later he was invited by the Shanghai Theater Academy as international strategic advisor and he was teaching in Shanghai at Tongji University. He was invited by several universities in China, among others by Nanjing University and Fudan University.

佳表演藝術實踐獎及表彰她在印尼節傑出策劃成就的伊莎多拉鄧肯獎。

International Experts 國際專家 Tokyo 東京

Currently the Board of Directors, World Design Weeks, International Advisory committee member of PMQ (Hong Kong), Senior advisor of Kamoe Art Center. Imamura has worked as the advisory of several international cultural institutions, Program advisory board of Haus der Kulturen der Welt (Berlin), Tensta Konsthall (Stockholm), Cultural Advisor for United Nations University (Tokyo). Born in 1959 in Fukuoka, Japan. Imamura is a registered architect and have worked at Arata Isozaki and Associates (Tokyo), Bernard Tschumi Architects (New York), and was a visiting scholar at Columbia University (1991-1993).

Yusaku IMAMURA

今村有策

東京藝術大學美術研究科環球藝術專業教授。

Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts

該系為新開辦的研究所課程，合作機構包括倫

敦藝術大學中央聖馬丁藝術與設計學院和巴黎

東京藝術大學美術研究科環球藝術專業教授

國立高等美術學院。

為日本 Tokyo Wonder Site ( 簡稱 TWS) 的創辦

人，2001 年至 2017 年間擔任總監。TWS 為全

Professor, Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts, a new innovative graduate program on Contemporary Arts collaborating with Central Saint Martins, University of the Arts London and Beaux-Arts de Paris.

球當代藝術樞紐，提供創意及文化交流平台，

三個使命包括發掘、培育及推廣年輕創作者；促進國際文化交流；及鼓勵創意實驗。透過舉辦不同的文化活動，TWS 致力於促進創意交流

Founding and former Director of Tokyo Wonder Site (TWS) from 2001 to 2017. TWS is the art center as the creative platform, the international hub of contemporary arts and culture in Tokyo, with 3 missions, discovering, nurturing and promoting emerging creators, promoting international cultural exchange, and encouraging creative experimentation. TWS organizes the wide range of cultural activity, exhibition, concert, workshop, and artist-inresidence, focusing on creative dialogue and process of creation.

及藝術創作。

2001 年至 2013 年間以擔任東京都政府知事特

別事務參贊，諮詢及監督東京的藝術和文化政

策。曾參與訂立文化政策及活動，包括東京藝術委員會、六本木藝術夜和 Talents Tokyo。曾負責東京申辦 2016 年及 2020 年奧運計畫書文化節目的部分。

現為香港元創方世界設計展國際委員會成員及

From 2001 to 2013, Imamura has worked as Counselor on Special Issue to the Governor, Tokyo Metropolitan Government, advising and supervising on cultural policy and promotional strategy of arts and culture of Tokyo. Imamura has worked on creating new cultural policy and project as like Arts Council Tokyo, Roppongi Art Night, Talents Tokyo. Also, he worked as responsible for making cultural programs for the Olympic game, Tokyo 2016 and 2020 bidding file.

Kamoe Art Center 高級顧問。曾擔任不同國際

文化機構的顧問，包括柏林世界文化中心節目諮詢委員會、斯德哥爾摩 Tensta Konsthall 及東京聯合國大學。

1959 年生於日本福岡市，為註冊建築師。曾於東京磯崎新建築工作室和紐約 Bernard Tschumi Architects 工作，亦曾為哥倫比亞大學訪問學者

2019

Singapore 新加坡

Minli HAN

韓敏麗

Founder and Director, Filmgarde Cineplexes

Filmgarde Cineplexes 創辦人及總監

Entrepreneur, cultural observer and independent researcher. Minli founded Filmgarde Cineplexes in Singapore in 2007, spurred by an interest in film and also a curiosity about how non-establishment cinemas can grow and thrive in a unique ecosystem characterised by deeply embedded structures and practices. She is a supporter of the local arts scene, an advocate of cross-cultural exchange and participates in various arts and cultural forums, conferences and initiatives around the region. She holds a Master of Social Sciences (Political Science) and is currently also a Ph.D. candidate in Cultural Studies in Asia at the National University of Singapore.

企業家、文化監察者及獨立研究員。因對電影充滿熱情，並好奇獨立電影如何能於制度化的

電影業生態中發展，於 2007 年在新加坡創立

Filmgarde Cineplexes。她支持本地藝術，提倡跨文化交流及參與區內不同藝術及文化論壇、會議及倡議。為新加坡國立大學社會科學（政治

科學）碩士畢業生，現為該校亞洲文化研究博士候選人。

（1991-1993）。

Cultural Exchange Cities Network Researchers

文化交流城市網絡研究員 Singapore 新加坡

Taipei/Shanghai 台北 / 上海

Singapore 新加坡

LEE Chee Keng

LEE Liheng

LIU Xiaoyi

Assistant Professor of Humanities (Theatre Practice), Yale-NUS College

Independent Curator for Arts Festivals and Program

Founder and Artistic Director, Emergency Stairs

Dr Lee Chee Keng is Assistant Professor of Humanities (Theatre Practice) at Yale-NUS Singapore. His theatre practice revolves around writing, directing and translating. His creative and research interests are anchored in collaborative art-making, circulations of cultures, and creative expressions of identities. His most recent publication include a Chinese translation of Culture is the Body, a collection of essays there were written over thirty years by eminent Japanese theatre director Tadashi Suzuki.

Liheng receives his M.A from the Performance Studies Department of the New York University. He was the artistic director of the Taipei Arts Festival in 2004-06, and the director in general of the City Square Arts Festival of the Shanghai EXPO in 2010.

The founder and Artistic Director of Emergency Stairs, Xiaoyi is considered a promising figure at the forefront of the experimental theatre scene in Asia. He was the recipient of “Young Artist Award” by the National Arts Council of Singapore in 2016. In 2002, Xiaoyi started working professionally in theatre. He is considered one of the most acclaimed male actors from the Singapore theatre scene. Since 2011, Xiaoyi has been particularly involved in the intercultural dialogue. Since 2017, he curates the annual Southernmost: One Table Two Chairs Project, a first-of-its-kind arts festival in Singapore. It seeks to bring prominent and established traditional and contemporary artists from the region together at Singapore for intercultural exchange.

李集慶

李立亨

耶魯 – 新加坡國立大學學院人文助理教授（劇場）

藝術節和節目獨立策展人

劉曉義

避難階段創始人及藝術總監

通，和藝術創作上的身份表現。近期出版有中

The British Council and the culture department of the French Institute in Taipei have invited Liheng to visit the UK and France for culture exchange program for 4 times, he is familiar with the international culture exchange scenes. Currently, he works in Shanghai on projects related to city culture exchange and performing arts; and keeps on writing culture issues for newspaper and magazine in China. Liheng is also the authors of 5 books on performing arts published in Shanghai and Taipei.

曉義是「避難階段」的創始人和藝術總監。作為

木忠志三十多年來思考關於戲劇和文化的文章。

士，2004-6 年曾任台北藝術節藝術總監，2010

譽為亞洲實驗性劇場最年輕有為的代表人物。

李集慶博士是耶魯新加坡國立大學學院人文助

理教授。他的劇場實踐圍繞編劇、導演和翻譯；研究興趣著包括藝術創作協作、文化流文譯作《文化就是身體》，收錄日本戲劇導演鈴

生於台灣，美國紐約大學表演學研究所藝術碩

年上海世博會城市廣場藝術節總導演。近年長駐上海，負責文化項目的策劃和研究。

2013-15 年，擔任上海大世界傳藝中心籌備小組藝術總監，對於大陸和世界非遺與文化展演

有過深度調研。他的藝文評論持續在上海和台北發表，並在兩岸出版有 5 本藝術專書。

2019

一名不斷地進行藝術邊界探索的藝術家，他被 2016 年，曉義獲頒新加坡國家藝術理事會年度

「青年藝術獎」。被認為是新加坡劇場最具實力

的男演員之一。曉義自 2011 年投身於跨文化活動。他於 2017 年開始策畫每年一度的跨文化活

動「最南階段：一桌二椅計畫」，是新加坡首個該類型的藝術節，致力於召集亞洲傑出的傳統和當代藝術家，共同探索跨文化交流的未來。

*One of the Belt-Road artists, serves as Associate Director of The Interrupted Dream: Chinois Dream at Château de Versailles 參與帶路藝術家之一，《驚夢：凡爾賽宮的舊事》副導演

Commentators 評論員 Hong Kong 香港

Hangzhou/Singapore 杭州 / 新加坡

Bangkok 曼谷

Istanbul 伊斯坦堡

CHANG Ping Hung, Wallace

Pure Yichun CHEN

Pornrat DAMRHUNG

Özlem ECE

Associate Professor, Department of Architecture, The University of Hong Kong

Board Member, Bowen Art Foundation

Professor at Department of Dramatic Arts, Chulalongkorn University

Director of Cultural Policy Studies, Istanbul Foundation for Culture and Arts (İKSV)

Wallace Chang is a registered architect in Hong Kong and China, an associate professor at the Department of Architecture of the University of Hong Kong, director of the Urban Place Research Unit and visiting scholar at the Harvard-Yenching Institute at Harvard University. He is both an architectural practitioner and an urban design theorist whose primary interest lies in cultural conservation and community participation and whose awardwinning designs range from urban washrooms to university academic buildings. He is also a social activist who seeks to promote civil awareness of the urban environment, community conservation and sustainable planning. Recent research includes his work on “Habitat City and Bamboo Theatre” with accompanying exhibition in 2011.

Born in Hangzhou, China, Pure Yichun CHEN now lives with her family in Singapore and Zurich, Switzerland. She holds an MA in Luxury Brand Management from INSEEC, Paris. Following a career in Fashion where she held senior positions at Vogue China and InStyle China, she now oversees the International activities of Bowen Art Foundation as a board member. Having lived abroad for many years, Pure is passionate about spreading Chinese culture and art.

Pornrat Damrhung is a Professor in the Department of Dramatic Arts at Chulalongkorn University's Faculty of Arts. For a quarter century, her research and stage work has sought to make traditional Southeast Asian performers, stories, dances, and music part of contemporary performances and move today's audiences. She has received many grants and fellowships in Thailand and abroad, and in the last decade, has staged or collaborated in staging many productions in Thailand and other countries. Among her other areas of work and teaching are Applied Theatre, New Puppetry, Theatre for Young People, Acting, and Directing.

Ms. Özlem Ece is Director of Cultural Policy Studies at the Istanbul Foundation for Culture and Arts (İKSV) since the establishment of the department in 2010. Between the years of 2003 and 2008 she worked as a project coordinator and communications consultant for different institutions. Between 2008 and 2010, she has directed one of the most wide scale events of the foundation, ‘Cultural Season of Turkey in France’. Ece, who is a lecturer at Kültür University, is also a member of UNESCO Turkish National Commission’s Committee of Diversity of Cultural Expressions since 2018. Alumni of Marmara University, department of Public Administration, she received her master’s degree from Grenoble Institute of Political Studies.

鄭炳鴻

陳奕蒓

博聞藝術基金會董事

香港大學建築學系副教授

生於中國杭州，現居於新加坡及瑞士蘇黎世。遊學巴黎，畢業於奢侈品牌管理和時裝管理專業。曾任《Vogue China》時裝編輯、《InStyle

China》形象總監，現為博聞藝術基金會董事。居住瑞士多年，一直致力傳播美好的中國藝術

香港及中國註冊建築師、香港大學建築學院副

文化。

教授、社區營造學社總監、美國哈佛大學燕京

學社訪問學者。同時是城市設計、文化保育及

朱拉隆功大學劇場藝術系教授

伊斯坦堡文化藝術基金會文化政策研究總監

Pornrat Damrhung 是朱拉隆功大學藝術系戲劇

自 2010 年伊斯坦堡文化藝術基金會成立一直擔

藝術系教授。四分一世紀以來，她致力將傳統

任文化政策研究總監。2003-2008 年間，於不

的東南亞表演藝術家、故事、舞蹈和音樂等融

同機構任項目助理及傳訊顧問。2008-2010 年

入她的研究和當代舞台作品之中，介紹給今天

期間，策畫基金會的最大型項目之一「法國土耳

的觀眾。她在泰國內外均獲得不同的獎學金，

其文化節」。2018 年起擔任聯合國教科文組織

並在過去十年中，在泰國和其他國家製作或合

社區參與的建築實踐者及理論家；2011 年其研

土耳其全國委員會文化多樣性小組的成員，亦

辦過許多舞台作品。她的其他工作和教學領域

究成果展覽包括「人居城市」及「竹跡．築跡」。

為伊斯坦堡文化大學的講師。馬爾馬拉大學公

包括應用劇場、新木偶劇、青年劇場、演出和

共行政學系學士及格勒諾布爾政治學院碩士。

導演。

2019

Commentators 評論員 Hong Kong 香港

Bangkok 曼谷

Hanoi 河內

Desmond HUI

Pawit MAHASARINAND

Patravadi MEJUDHON

NGUYEN Thi Thu Ha

Professor, Department of Social Science, The Hang Seng University of Hong Kong

Director of Bangkok Art and Culture Centre

Founder, Director and Teacher, Patravadi School Huahin

Director of VICAS Art Studio, Vietnam National Institute of Culture and Arts Studies (VICAS)

Professor Desmond Hui is at present Professor at the Hang Seng University of Hong Kong, Director of the BA (Hons) in Cultural and Creative Industries in Department of Social Science of the School of Humanities and Social Science. He holds BArch Degree from Cornell University, MPhil and PhD from Cambridge University. He was Director of the Centre for Cultural Policy Research at the University of Hong Kong and Associate Dean of Arts at the Chinese University of Hong Kong. He now serves as a member of the Advisory Committee of Built Heritage Conservation and Museum Expert Advisor for the Hong Kong SAR Government. His research interests include History and Theory of Art and Architecture, Cultural and Creative Industries, Cultural Policy, Urban Development and Heritage Conservation.

BACC director since 2018, Pawit was previously the artistic director of Sodsai Pantoomkomol Centre for Dramatic Arts where he oversaw a number of exchange programmes between Thailand and, among others, France, Japan and Taiwan.

Trained in New York, Los Angeles and Canada as well as a classical student from many old schools in Thailand and Indonesia, Mejudhon is the Founder and Artistic Director of Patravadi Theatre Bangkok and Vic Huahin in Huahin, Thailand. She received many awards for her acting, directing and playwright, and was declared “The National Artist of Performing Art” in 2014. As a well-respected mentor, and an advocate for cultural policy in Thailand, she experiments the fusion of traditional Thai elements with contemporary theatre presentation techniques, using theatre to promote the understanding of education and Buddhist principles.Her works have been invited to represent Thailand in many international occasions, including Hong Kong Arts Festival 2009. Her latest project is Patravadi School Huahin, a unique school for elementary and high school education.

Dr. Nguyen Thi Thu Ha has been a long-term researcher of the Vietnam National Institute for Culture and Arts Studies (VICAS) since 2004. She gained her Master's degree in Public Policy at KDI School of Public Policy and Management (Korea) in 2008 and a Ph.D. degree in Cultural Management at VICAS in 2016.

許焯權

曼谷藝術文化中心總監

香港恒生大學社會科學系教授

The first president of the International Association of Theatre Critics’ (IATC) Thailand centre, Pawit was awarded “chevalier de l’ordre des arts et des lettres” by France’s Ministry of Culture and Communication and is a member of the Southeast Asia Advisory Committee (SEAAC) for Taiwan’s Ministry of Culture.

2018 起擔任曼谷藝術文化中心總監。曾任 Sodsai Pantoomkomol Centre for Dramatic

許焯權教授，現任香港恒生大學教授、人文社

Arts 藝術總監，策畫一系列泰國與法國、日本

於紐約、洛杉磯、加拿大接受訓練，並於泰

國文化傳播部頒發「藝術文學騎士勳章」，現為

Patravadi Theatre Bangkok 及 Vic Huahin，並

家藝術家選拔委員會成員。

及台灣等交流活動。

會科學學院社會科學系文化及創意產業課程主任；美國康奈爾大學建築學士，英國劍橋大學

國際演藝評論家協會泰國分會首任主席。獲法

中心總監、中文大學文學院副院長；目前為香

臺灣文化部東南亞事務諮詢委員會，及泰國國

哲學碩士及博士。曾任香港大學文化政策研究

港政府保育歷史建築諮詢委員會成員及博物館專家顧問。主要研究領域包括建築及藝術歷史

華欣 Patravadi 學校創辦人、總監及導師

越南國立文化藝術研究院藝術學院總監

Since 2012, she has been involved in some projects which have had strong impacts on the development of cultural and creative industries in Vietnam. In 2018, Dr. Nguyen Ha was appointed Director of VICAS Art Studio (a center for contemporary arts of VICAS), a position that facilitates her continuing support to the arts and cultural scene in Vietnam.

2004 年起擔任越南國立文化藝術研究院

國、印度尼西亞等學習傳統表演藝術。後創辦

（VICAS）長期研究員。2008 年獲得韓國 KDI 公

任藝術總監。因其出色的表演、導演及編劇作

一系列對越南文化創意產業發展有重大影響的

稱號，亦是備受尊敬的導師。致力於提倡發展

監，繼續支持越南的文化藝術。

共政策與管理學院公共政策碩士學位，2016 年獲得 VICAS 文化管理博士學位。2012 年起參與

品獲諸多獎項，2014 年獲「國家表演藝術家」

項目。2018 年，被任命為 VICAS 藝術學院總

泰國文化政策，並將傳統泰國文化元素與當代劇場技術結合，以劇場推動對教育及佛教的理

與理論、文化創意產業、文化政策、都市發

解。其作品受邀作為泰國代表，在多種國際舞

展、文物保育等。

台呈現，包括 2009 年香港藝術節。最近發起的項目為 Patravadi School Huahin，涵蓋小學及 48

2019

中學和美藝教育。

Commentators 評論員

Observers 觀察員

Hong Kong 香港

New Delhi 新德里

Beijing / Berlin 北京 / 柏林

Bangkok 曼谷

TSENG Sun Man

Udayan VAJPEYI

CAO Kefei

Udom HONGCHATIKUL

Theatre director, Dramaturg and Writer

Founder & CEO, Social Lab (Thailand) Co-Founder & Executive Director, Sustainable Food Lab (Thailand)

鄭新文

Adjunct Professor, Chinese University of Hong Kong & SPACE, University of Hong Kong

Life Trustee of the Raza Foundation

Currently an Arts Advisor (Arts Administration) of Hong Kong Arts Development Council, a Member of the Artistic Board of the Macau International Music Festival, and a Director of the Arts Committee of Shenzhen Belt Road International Music Festival, Guest Professor of Central Academy of Drama and Beijing Academy of Dance.

Published four collections of poems, four collections of short-stories, three books of essays, a book on tribal painting and folk tales. Written three plays for repertory of theatre director, K.N. Panikkar and a book on his works, Theatre of Rasa. Written a book on theatre director Ratan Thiyam. Has published book length conversations with filmmaker Mani Kaul, historian Dharampal, Philosopher Navjyoty Singh, Hindi poet Kamlesh, Urdu-novelist Shamsurrehman Faruqi etc. Writing are translated into around 15 languages including French, Polish, English, Swedish, Odiya, Malayalam etc. Was writer-in-residence in Lavigny (Switzerland), Paris in 2003, and was a fellow at the Institute of advanced studies, Nantes (France).

Raza 基金會終身信託人

香港中文大學及香港大學專業進修學院兼任教授

Served important roles such as Secretary General of Hong Kong Arts Development Council, E xe c u t ive D i r e c t o r o f t h e H o n g Ko n g A r t s Festival Society, Chairman of Hong Kong Arts Administrators Association, Chair and Professor of the Arts Administration Department of Shanghai Conservatory of Music, board member of Association of Arts Administration Educators (AAAE). Published book Principles of Arts Management.

Life trustee of Raza Foundation and edits a journal on Arts, Literature and Civilization, Samaas. Lives and works in Bhopal.

曾出版詩集、短篇故事集及文集等。曾為舞台劇導演 K.N. Panikkar 創作三齣劇本，及根據他的作品 Theatre of Rasa 撰寫書籍。曾與電影製作人 Mani Kaul、歷史學家 Dharampal、哲學家 Navjyoty Singh、印度詩人 Kamlesh、烏爾都小說家 Shamsurrehman Faruqi 等人對話，並以此撰寫書籍。著作被翻譯成超過 15 種語言。曾為瑞士拉維尼和巴黎（2003）的駐城市作家，亦為法國南特進修學院的夥伴成員之一。

香港藝術發展局藝術顧問（藝術行政）、澳門國際音樂節節目顧問團成員，深圳一帶一路國際音樂季藝術委員會委員，現任中央戲劇學院客座教授和北京舞蹈學院特聘教授。曾任香港

藝術發展局秘書長、香港藝術節行政總監、香港藝術行政人員協會主席、上海音樂學院藝術管理系系主任和教授、美國藝術管理教育學會

AAAE董事等要職。著有《藝術管理概論》一書。

Raza 基金會終身信託人及 Samaas 藝術文學雜誌編輯。於印度波帕爾生活和工作。

曹克非

劇場導演、藝術家、戲劇構作及翻譯

2019

Social Lab ( 泰國 ) 創辧人及行政總裁 Sustainable Food Lab ( 泰國 ) 聯合創辧人及行政總裁

Cao, a theatre director, dramaturg and writer, was based in Zurich and is now living in Beijing and Berlin. Her cross-border theater works combine performance, space, installation and images.

A leading organizer, designer, consultant and facilitator of Organization Development, Systems Change and Positive Change processes. Udom has worked extensively as an advisor to a vast variety of public & private sector clients and non-profit organizations in a wide range of industries and specializes in Systems Change, Organization Development, Sustainable Development, Leadership Development, and Corporate Strategy.

In recent years, Cao has directed and participated more in a series of documentary theatre works in China and German-speaking countries. Her works were presented in various international festivals. In 2018, co-directed the real-virtual interactive performance “Avatar Tales” in 798 area in Beijing with Gesine Danckwart. In 2019, tutoring for the interdisciplinary project “10 x 10m” at Hochschule der Künste Zürich.

Udom now lead Imagine Thailand Movement, a platform, a safe generative space supported by Thai Health Fund, for diverse leader/change makers to co-create the movement towards well-being for Thai society and Thai Youth.

劇場導演、藝術家、戲劇構作及翻譯，曾以蘇

設計師、顧問、策畫者及協作者。以顧問身份

黎世作基地，現居住在北京和柏林。她的創作

服務多個公私營機構，遍及多個行業，涉及系

結合文本、表演、空間、裝置和影像作跨界的

統改變、組織發展、可持續性發展、領導力發

劇場創作，作品曾經參加中國、亞洲和歐洲國

展及企業策略。

際戲劇節。她翻譯並編導了多部歐洲劇作家的

劇作，策畫了一系列與歐洲劇場的交流演出，

現為 Imagine Thailand Movement 的主要策畫

舉辦戲劇工作坊。2018 年她與德國導演 Gesine

者，在泰國健康基金的支持下，提供安全生產

Danckwart 在北京歌德學院共同創作了現實與

的平台，促使多元領袖共同舉辦創新活動，推

網路，紀實與虛構的互動表演《阿法嗒傳說》；

動泰國社會及年輕人的健康身心發展。

她在國際藝術展「地圖與疆域」中創作了紀錄劇場《那看不見的。。。》。2019 年在蘇黎世藝術

大學指導跨界項目「10x10 米」。

Belt-Road Artists 帶路藝術家 2019

Singapore 新加坡

Hong Kong 香港

Tokyo 東京

Amin FARID

Nerve (Steve HUI) 許敖山

Jason KONG 江駿傑

Makoto MATSUSHIMA 松島誠

Steve Hui (aka Nerve) is a multidisciplinary artist based in Hong Kong, whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. He studied composition and electronic music at the Hong Kong Academy for Performing Arts. His work has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions including the City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, City Contemporary Dance Company, among others. Hui’s recent works including: 1984 Cinematic Opera, live soundtrack of 1950s film Family, Spring, Autumn with Kung Chi-shing, The Four Infinities for the opening of the Run Run Shaw Creative Media Centre, digital opera The Memory Palace of Matteo Ricci and Wittgenstein.

Jason Kong is an emerging scriptwriter, actor and columnist, who has been working in composing and arranging music. He began receiving traditional Chinese Opera training at the age of nine, and has sung as a wusheng.

MATSUSHIMA graduated from the Nihon University of College of Art, a famed contemporary dancer cum choreographer from Japan. Since 1983 Matsushima is the core member of internationally acclaimed Japanese dance theatre company PAPPA TARAHUMARA (dissolved in 2012). Alongside touring with the company regularly worldwide, Matsushima began creating his own pieces, working both as choreographer and dancer since 1995. He has been working intensively in Asia, Europe and the U.S. for solo pieces and collaborations.

生於香港，香港演藝學院音樂碩士（作曲及電

是首屆中國戲劇家協會「全國青年音樂家研修

Muhammad Noramin Bin Mohamed Farid (Soultari) is a choreographer, arts educator and researcher from Singapore. In addition he is the Joint Artistic Director of Bhumi Collective and the Vice-President of a traditional Malay dance organisation, DIAN Dancers. He is currently based in London where he is a PhD candidate in Dance Studies at the prestigious Royal Holloway, University of London,UK. He is a recipient of the India-ASEAN Youth Award 2018, Singapore Youth Award 2017 and the Goh Chok Tong Youth Promise Award 2016 which were conferred for his active participation as an arts creator and researcher. His research interests are in dance anthropology, critical dance studies and the performing arts of the Malay World.

編舞家、藝術教育工作者及研究員，同時亦是 Bhumi Collective 的聯合藝術總監及馬來西亞傳

子音樂），經常以多重身份遊走於現代音樂、

統舞蹈 DIAN Dancers 副主席。現居於倫敦，並

聲音藝術、多媒體劇場及地下文化之間。其作

於倫敦大學皇家霍洛威學院修讀舞蹈博士。

品曾於香港藝術節、深圳香港城市建築雙城雙

2016 年 Goh Chok Tong Youth Promise Award，

年展、新視野藝術節、及微波國際媒體藝術節

以表揚他於藝術創作及研究的積極參與。2017

等演出，並獲香港小交響樂團、香港城市大

年獲新加坡傑出青年獎；2018 年獲 India-

學、香港創樂團、現在音樂、城市當代舞蹈團

ASEAN Youth Award。其研究範疇主要包拾舞

等委約創作。近年主要作品包括《1984》電影

蹈人類學、舞蹈批判研究及馬來西亞表演藝術。

He is a student of the first Chinese Theatre Association National Youth Opera Musicians Programme (class A) and a member of the Chinese Theatre Music Society. He was also the recipient of the HKADC Award for Young Artist (Chinese Opera) in 2012. He graduated from the Cantonese Opera Academy of Hong Kong and the Hong Kong Academy for Performing Arts. He is also a student of the scriptwriter Raymond To. His works include: The Sin of Hero, Without Reason, To Make a Move and The Gate of Hell.

Matsushima's work is rich in expressions of human life in urban surroundings, such as mixture of nature and art. Characteristic of Matsushima's works is his unbounded approach. He channels playfully between visual art, object design, dance, music, voice art and theatre. He has developed a very original movement/voice art strongly influenced by Aikido, Iai, Kendo, Tai-chi and other Asian martial and chanting arts. His works are named 'a spatial poem' or 'a humoristic lyrical critique' that introduces new encounters and rediscoveries for the conflicting changing environment of urban Asia.

編劇、演員、專欄作者，從事音樂創作及編曲。九歲開始接受傳統戲曲訓練，習武生。他

班」A 班學員，中國戲曲音樂學會會員，獲頒發香港藝術發展局 2012 年藝術新秀獎（戲曲）。

Matsushima was also a professor at the Korean National University of Art in 2008, 2010 and 2018.

畢業於八和粵劇學院及香港演藝學院，師承劇作家杜國威先生，編劇作品包括《英雄罪》、

畢業於日本大學藝術部美術學科，著名當代舞

《十二道金牌》、《搬家》、《生死判》等。

者及編舞家。自 2006 年起從事劇場導演及演員

工作，曾多次到歐洲、台灣及香港等地表演。

歌劇、與龔志成合作《家．春．秋》現場電影配樂、邵逸夫創意媒體中心開幕節目《四象萬

前日本 Pappa TARAHUMARA 舞團核心成員；

根斯坦》。

大學客席教授。

2005至2008年間任杉野服飾大學表現科講師，

相》、多媒體歌劇《利瑪竇的記憶宮殿》及《維

並於 2008、2010 及 2018 年擔任韓國國立藝術

Belt-Road Artists 帶路藝術家 2019

Phnom Penh 金邊

Shanghai 上海

Singapore 新加坡

Yogyakarta 日惹

NGET Rady

SHEN Yili 沈昳麗

Sabrina SNG

Didik Nini THOWOK Didik Nini Thowok is a Classical Javanese dancer and choreographer. Born in Central Java, Didik graduated from the Indonesian Institute of the Arts, Yogyakarta (former ASTI Yogyakarta). He is now one of the very few artists who continues the long tradition of “cross-gender” dance performance. Didik has performed around the world and is renowned for combining classical, folk, modern and comedic dance forms in his works. He continues to refine and develop his art by working and teaching to become a multi-talented and professional artist, particularly in dancing.

Nget Rady 於 1999 年開始接受舞蹈訓練，專攻

In 2009, she performed A Dream in the Peony Garden with the BBC Symphony Orchestra. Shen also established “Yili School” and has held seminars on “Kunqu Opera” in higher education institutions, libraries and communities in China, Hong Kong, Taiwan, Europe and the US.

Sabrina Sng is a performer and performance maker from Singapore. She received her Bachelor of Fine Arts (Honors) in Theatre Arts from New York University's Tisch School of the Arts in 2016. The focus of her training was in the Experimental Theatre Wing. During her time in New York, she worked with artists such as Abigail Browde and Michael Silverstone (600 HIGHWAYMEN) in the ETW Mainstage Production of The Fever, as well as with director Kevin Kulkhe in Salomé. Her recent work in Singapore includes "Attempts: Singapore" (M1 Singapore Fringe Festival 2018), "Excavations" (Singapore Heritage Festival) and "Chinatown Crossings". Sabrina was awarded the Outstanding Studio Award (Experimental Theatre Wing) by the Tisch Drama Department in 2016. She was also a recipient of an Undergraduate Arts Scholarship by the National Arts Council of Singapore in 2013.

曾於歐洲及亞洲多地表演傳統及當代舞，以及參

先後畢業於上海市戲曲學校第三屆崑劇演員班

國家藝術委員會頒發獎學金。Sabrina 在紐約大

的全新柬蒲寨當代作品《CRACK》担任主要舞

承王英姿，後又得到崑劇表演藝術家張靜嫻、

Nget Rady is a Classical Cambodian and contemporary dance artist who began his dance training in 1999, specializing in the monkey role of Lakhaon Kaol, the Cambodian classical male masked dance form. He graduated with a BA in Choreographic Arts from the Royal University of Fine Arts in Phnom Penh in August 2013. Rady has toured as a classical and contemporary dancer to Europe and throughout Asia as well as participated in many contemporary dance workshops. He was a featured dancer in CRACK – a new work of Cambodian contemporary dance by German choreographer Arco Renz – which was awarded the 2012 ZKB Patronage Prize in Zurich, Switzerland in 2012.

Shen Yili is a National Class One Performer and received the 28th Plum Blossom Award for Chinese Theatre. Amongst the 3rd batch of artists completing the Kunqu Performers’ Training Course, Shen holds an MFA degree conferred by the Shanghai Theatre Academy. Specialising in guimendan roles, Shen is a protégé of Wang Yingzhi, and later received personal guidance and teaching from famous Kunqu Opera artists such as Zhang Jingxian, Zhang Xunpeng, Hua Wenyi, Zhang Jiqing, Shen Shihua, Wang Fengmei, Liang Guyin and Wang Zhiquan etc. She won the Leading Performer Award at the 11th Shanghai Magnolia Performing Arts Award.

柬蒲寨傳統男性面具舞（lakhon khol）的猴角。

2013 年畢業於金邊皇家藝術大學，主修編舞。

國家一級演員，第 28 屆中國戲劇梅花獎得主，

與眾多當代舞工作坊。於德國编舞家 Arco Renz

和上海戲劇學院 MFA 藝術碩士，工閨門旦，師

者，作品於於 2012 年在瑞士蘇黎世獲頒 2012

張洵澎、華文漪、張繼青、沈世華、王奉梅、

梁谷音、王芝泉等的親自指點與教授。曾主

ZKB Patronage Prize。

式」，曾多次進高校、圖書館和社區等進行崑曲講座，足跡遍布中國大陸、港台以及歐美。

參與文化交流，其舞蹈藝術創作中，吸收了印尼各族民間舞蹈的精華，結合傳統、民間、

當代、喜劇風格的獨特舞蹈形式廣受讚譽。

Didik 始終通過創作、教與學不斷豐富自己，除了印尼傳統舞蹈外，也不斷學習、吸收世界

作室傑出成就獎」。

HIGHWAYMEN）及導演 Kevin Kulkhe 等。她於

辦「昳麗道場」，提出「崑曲是有美感的生活方

在國家舞台上表演，並一直於世界各地演出及

2016 年獲得美術學士（榮譽學位）及獲頒發「工

夢》、《說親》、《題曲》、《瑤台》、《醉楊妃》等

合作演出新交響樂作品《牡丹園之夢》。她還創

承「跨性別」舞蹈表演的藝術家之一。Didik 常

學提斯克藝術學院實驗劇院翼接受訓練，並於

在紐約期間，Sabrina 曾與不同藝術家合作如

多出傳統折子戲。2009 年與英國 BBC 交響樂團

業於印度尼西亞日惹藝術學院，為目前少數傳

新加坡演員及表演創作者。於 2013 年獲新加坡

演《牡丹亭》、《玉簪記》、《長生殿》、《牆頭馬上》、《紫釵記》等多部大戲，以及《驚夢》、《尋

古典爪哇舞蹈家及編舞家。出生於中爪哇，畢

各地表演藝術文化，成為多才多藝的跨文化表演藝術家。

Abigail Browde、Michael Silverstone（600 新加坡的近作包括 Attempts: Singapore（M1 新加坡藝穗節 2018）、Excavations（新加坡文化遺產節）及 Chinatown Crossings。

Special Arrangement 特別安排

Belt-Road Artists 帶路藝術家

2019

Hat Yai 合艾

會議場地位於香港文化中心大劇院後台區域，

The venue is located at the rear stage of the Grand Theatre at the Hong Kong Cultural Centre, please refer to the map below for venue entrance.

請參考以下地圖於大劇院後台入口進場。

Nattapon WANNAUN (aka Guide) Nattapon Wannaun studied Nora performance since 5 years old with his grandfather, Mr. Kluan Jaroenmak, a master of Nora ceremony who has performed Nora for King Rama the 9th. Except Nora performance, Wannaun also a teacher of Thai Dance. He studied Thai dance at Thaksin University and contemporary performing arts at Patravadi School HuaHin. He has performed Nora at different venues such as Esplanade theater in Singapore, Aswara University in Malaysia, Bangkok Art and Culture center as well as the TV Commercial for Regency company.

Wannaun 自五歲起跟隨祖父 Kluan Jaroenmak

（諾拉舞蹈大師，曾為泰皇蒲美蓬．阿杜德表

演）學習諾拉舞蹈。除了諾拉舞蹈，Wannaun

亦為泰國民族舞導師。他於泰國他信大學學習泰國民族舞，並在華欣 Patravadi 學校學習當代

表演藝術。他曾於不同場地如新加坡濱海藝術中心，馬來西亞國家藝術學院，曼谷藝術及文化中心以及電視廣告中表演諾拉舞蹈。

Organiser 主辦機構 2019

2019

進念•二十面體與文化交流

Zuni Icosahedron and Cultural Exchange

聯合藝術總監榮念曾、胡恩威

Co-Artistic Director Danny Yung, Mathias Woo

進念．二十面體，一九八二年成立，是以香港

Zuni Icosahedron, founded in 1982, is a Hong Kong based international experimental theatre company which has produced more than 200 original productions of alternative theatre and multimedia performances. Immediately after the group’s establishment in 1982, Zuni represented Hong Kong by appearing in the 1st Asian Theatre Festival and Conference held in Taipei. Zuni has become the primary force to advocate and develop Hong Kong’s international cultural exchange strategy and cross-regional network since then. Over the last 30 years, Zuni has been visited to more than 80 cities in Europe, Asia, and America for cultural exchange and performances. Zuni is always keeping a close watch on the cultural development in Hong Kong as well as in the Asia Pacific regions. In 1997, Zuni initiated two network organizations –“Asia Arts Net” and “Hong Kong-Taipei-Shenzhen-Shanghai City-toCity Cultural Exchange Conference”, as well as the Alliance of World Cultural Forum in 2001 and more.

為基、面向世界的實驗藝術團體，原創劇場作

品超過 200 齣。創團同年，進念即代表香港往台北出席第一屆亞洲戲劇節及會議；自此，進念成為推動香港發展國際文化交流策略和跨地

域網絡的先駒。過去三十多年，交流地區橫跨

歐、亞、美洲 80 多個城市。進念一向關注香港以至於整個亞太地區的文化發展，一九九七年就組織了網路「亞洲藝術網路」及「香港│台北│

上海│深圳城市文化交流會議」、二○○一年

「世界文化論壇聯盟」等。

工作團隊

Work Team Producer / International Exchange Director

Wong Yuewai

Assistant Artistic Director

Cedric Chan

Conference and Research Coordinator

Melody Yiu

Company Manager (Administration and Finance)

Jacky Chan

Programme Manager

Ho Yin Hei

Programme Coordinator

Wu Zonglun

Logistics Coordinator

Carol Woo

Cover Visual Identity Design

84000 Communications

Typesetting

Coco Cheung

Booklet Design

監製 / 國際交流總監

黃裕偉

會議及研究統籌

姚凱琳

助理藝術總監

藝團經理 ( 行政及財務 ) 節目經理項目統籌會議支援

陳世明

何彥羲武宗倫胡寶娟

封面視覺識別設計

八萬四千溝通事務所

排版

張焯珩

書刊設計

Pollux Kwok

陳浩峰

郭健超

進念積極推動策畫及參與的各類型國際文化交

流計劃，至今項目超過 300 項。於千禧年協辦

的「香港柏林當代文化節」為首個歐、亞兩地

跨城市的大型文化交流計畫，邀請了近千位來自 35 個不同亞歐城市的藝術家及文化工作者參

Zuni has actively organised and participated in more than 300 international exchange programmes of various natures. In the year 2000, in liaison with other cultural organizations Zuni co-produced the cross-city cultural festival “Festival of Vision: Berlin / Hong Kong”, the first ever large-scale cultural exchange between Asia and Europe. More than 1000 artists from 35 different cities in Asia and Europe participated in that monumental event of diverse content, crossing disciplines and regions. In recent years, Zuni curates Hong Kong Belt-Road City-to-City Cultural Exchange Conference. Its aim is to promote arts and cultural exchanges and collaborations among the respective cities, and to provide an impetus to the new paradigm of multicultural interactions between the East and the West.

與，是一時之盛。近年，策畫「香港帶路城市文化交流會議」，目的是促進一帶一路城市的文化

藝術交流與合作，開展未來一帶一路東西多元文化互動的新模式。

Enquiries 查詢

info@zuni.org.hk +852 2566 9696

Room 203-4, 2/F., Cheong Tai Commercial Building, 60-66 Wing Lok Street, Sheung Wan, Hong Kong 香港上環永樂街 60-66 號昌泰商業大廈 2 字樓 203-4 室

www.zuni.org.hk

Zuni Icosahedron is a Venue Partner of the Hong Kong Cultural Centre Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region Zuni Icosahedron reserves the right to vary advertised programmes and arrangement.