View from the North
On the face of it, Hong Kong and the Nordics — an unofficial grouping of five Northern European nations — seem to have little in common. The 3.5 million square kilometers shared between Denmark, Finland, Iceland, Norway and Sweden, with a combined population of over 27 million, present very different living conditions from those in Hong Kong, where close to eight million people have just 1,100-sq-km space between them. Renowned for high taxes, progressive politics and state support, the Nordic nations appear the very antithesis of Hong Kong’s entrepreneurial, laissez-faire economic approach.
Interestingly, this year’s World Cultures Festival — a month-long, multi-genre spectacle comprising 15 events across the worlds of music, theatre, dance and beyond — opening tonight is focused on the Nordics.
Founded in 2005 by the Leisure and Cultural Service Department (LCSD) and last staged in 2017 with Africa as its theme, the festival opens with a fittingly genre-blurring, decade-spanning, crosscontinental collaboration: a new operatic adaptation of legendary Swedish filmmaker Ingmar Bergman’s Autumn Sonata. Premiered at the Finnish National Opera in 2017, the production is backed locally by the Hong Kong Philharmonic.
“There are big differences between Nordic and Asian cultures in many ways, but through organizing festivals, we pull people together, create dialogue and network to communicate — to see, appreciate and learn from the differences,” says Alex Cheung, senior manager at LCSD’s Festivals Office.
And yet, for all the apparent differences, one can also detect a synergy between the mindsets and tastes of Hong Kong and the Nordics. There is a social reservedness and respect for etiquette and tradition; an appreciation for simple, utilitarian designs; and an embrace of kookiness and whimsy.
“Barely a day goes by when I don’t see someone carrying a Marimekko bag on the MTR, or holding a phone in a Moomin case,” says Sanna Kontinen, a 40-year-old Finnish resident of Hong Kong, in reference to the coveted clothing brand and beloved cartoon character Hong Kong people tend to bring up when she reveals her nationality.
Cheung hopes this shared aesthetic sensibility might be the basis of more profound cultural exchange. Inspired in part by the Nordic nations’ progressive social policies, the festival’s programing embraces an almost ambassadorial role, with several productions addressing stark realities facing our times — and what we can learn from them.
“The Nordic countries are frequently rated top in creativity, innovation, education, openness and equality, sustainability and environmental protection,” Cheung says. “It will be tremendously interesting to take a closer look at their unique music, dance, drama and literature, which reflect their inclusive, people-oriented themes and focus on social issues.”
“It’s hard to say what is Nordic,” admits Kirsten Dehlholm, the 74-year-old founder and artistic director of Danish theater company, Hotel Pro Forma. “I would say the aesthetic is strict and simple, minimalistic.”
Presented alongside the Latvian Radio Choir, on November 15-16 at Kwai Tsing Theatre, Hotel Pro Forma’s NeoArctic is a direct response to the ecological emergency facing our planet, conceived as a song cycle with lyrics by frequent Bjork collaborator, Sjon.
“We hope the performance will make people think about the global climate changes ongoing today.
by Sweden’s Circus Cirkor tackles the theme of refugee crisis. Norwegian National Ballet performs