Steering a fine festival
What strikes me about Hong Kong Arts Festival’s (HKAF) Plus (ancillary, mostly un-ticketed events designed around the staged shows) programming this year is the focus on family and young — sometimes remarkably young — people. Does inviting 6-to-10 year olds to be a part of workshops led by ballet and opera stalwarts subvert the popular notion that HKAF is mostly concerned with elitist art forms, meant for the initiated?
We have never thought of what we do as elitist. We consistently reach out to young people (Young Friends of the Festival is a 27-year-old program) and as many sectors of the population as possible. We have also kept the lowest ticket price at about HK$120, with half price for local full-time students.
The performers seem to be getting younger. The musicians Sergei Nakariakov, Yekwon Sunwoo and Denis Matsuev will perform with young prodigies. The shows Hamnet, Always by Your Side, Mummenschanz
Reloaded, Frogman and Burning Bright make use of devices associated with children and the idea of play to talk of highly adult themes. I imagine the inclusion of youth-featuring content wasn’t a conscious choice, but could this be a reflection of a societal change?
Rising stars are exciting, as are new trends. But HKAF is about balance. And there are great masters too: Lin Hwai-min, Robert Lepage, John Neumeier, Marin Alsop and more. This year we’re seeing quite a bit of unorthodox programming — the robothuman dance duet (Huang Yi and
Kuka, from Taiwan), Li Biao Percussion Group’s eco-sensitive workshops,
Mummenschanz and Frogman for playing with the audience’s perceptions of the stage-play world. Is there a reason for this? We aim for balance — classic and contemporary, tradition and cutting edge. This year’s program has a stronger Asia focus than before, with representation from the mainland (Hamlet by Beijing LiLiuyi Theatre Studio), Taiwan (Cloud Gate Dance Theatre, presenting a retrospective of Lin Hwaimin’s works), Indonesia (From Starting to Cut the Wood, directed by Katia Engel) and Korea (the pianist Yekwon Sunwoo). Would you agree?
It’s more a matter of what projects are interesting and can be realized. Having said that, we have hosted Asia Pacific Dance Platform for 10 years (under the banner of which both Huang Yi and Kuka and From
Starting to Cut the Wood will play). The No Limits festival (featuring performances by differently-abled artistes), introduced by HKAF this year, runs in the second half of March, in parallel with the main festival and Plus events. Would you like to share your thoughts behind introducing the event in Hong Kong?
“No Limits” is about embracing a wider circle, of both performers and audiences, and I am thrilled we have the opportunity to co-present the event with Hong Kong Jockey Club. HKAF is not the first in Hong Kong to work in this area; there are inspiring examples of inclusive arts. We are happy to make a contribution in the field as we believe art can help enrich and enhance all lives. Hong Kong Art Week, arguably the city’s flagship cultural event, also takes place in the last week of March. Is there something to be gained from having art connoisseurs with deep pockets descend on the city at the same time as “No Limits”?
That they appreciate the arts and are in Hong Kong for arts-related activity may provide a more acute focus, creating an added awareness of the festival. Although this is not the reason we do it, the two events coinciding is a nice bonus. This is going to be your 13th year running HKAF. How has your role evolved?
It’s a journey. What has not changed is my great respect and admiration for the team and the desire to empower them to do more than they had thought possible. This and a wonderfully wise and supportive board have powered the growth of the festival during my tenure so far. We continue to be excited by the possibility of new projects, also new ways of engaging arts lovers, new relationships with our audiences and new sectors of the community to serve and embrace.
I think of leading as serving. I would like to share a quote by the Chinese philosopher Lao Tzu: “A leader is best when people barely know he exists, when his work is done, his aim fulfilled, they will say: We did it ourselves.” This is what I would like the HKAF team to feel. What would you say is the most singular and socially impactful change HKAF has brought about under your leadership?
I think we have enhanced Hong Kong’s international reputation and standing in the field of cultural festivals. Both HKAF productions and our extension activities including Plus and schools outreach programs have grown tremendously in maturity and depth. What would you say is core to running a tight and efficient festival, optimizing the use of venues and problemsolving in real time? A great team, meticulous in planning and execution. HKAF has traditionally featured a strong outreach program involving schools and the wider community. This year the festival will host a community dance event in the Tai Kwun compound. What’s the most effective way of winning the confidence of students and other interest groups? Getting them to try out newer activities, inspiring them to be involved. What’s the secret of delivering quality programming within a limited budget? Does it help to be realistic rather than ambitious? Or does ambition always find a way of achieving the goals?
I think it’s a balance again, and having the confidence and drive to secure resources for projects that are exciting and meaningful. Being mission-driven rather than resource-constrained, motivated not by ambition but by purpose, and propelled by the desire to serve. The Hong Kong government seems quite keen to get behind genuine talent. What’s your experience of getting the government to back deserving projects?
There has been good support for specific projects, but our baseline funding has not increased for many years. The most discouraging reason for withholding additional support is that we manage to produce the work that we do on existing funding. There seems to be an assumption that the government funds come with strings attached. Is there any truth in this?
There are quantitative deliverables, that’s all. And that’s not unfair. But administrative requirements in terms of documenting processes, extra independent audits etc. are getting to be quite a burden. Most of HKAF’s funding comes from corporate sponsorship and private donors. Is there a way to ensure such entities have a sustained interest in funding art?
The relationships have to be sustained. We have to deliver what we promise and be completely clear and honest at all times. It is a relationship, not a transaction. We have had the most understanding and supportive partners, and that is not to be taken for granted.