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APRIL 12-26, 1986 HONG KONG

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Good will messages Messages from Lady Youde, Dr Harry S.Y. Fang, Sir Run Run Shaw, Dr The Hon Henrietta Ip, The International Committee, Arts with the Handicapped, Rehabilitation International, United Nations Children's Fund

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Art gives meaning to life

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Children let loose their imaginations to create some gorgeous mural paintings that Hong Kong people should feel proud of

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When words fail

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The National Theatre of the Deaf offers you a solution

A workshop to be remembered A ceramist dearly remembers how her disabled students were making rapid progress

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Music is for fun

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In the Sound Playground, they taught you how to create music out of kitchen utensils

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Please touch

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A unique art exhibition where you can touch the exhibits

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We are happy little birds

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An exhibition of the best of children's posters selected worldwide

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Dance with the blind

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A workshop that gives new meaning to the word "dance"

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Fair to recognize the arts of the disabled

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An arts fair of exhibition, dance and singing performances

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Dance for creative expression and rehabilitation Gina Levete tells us how to do it

New Horizon for drama Disabled players go on stage with ablebodied performers

Yet another colourful Festival event A jewellery exhibition - joint effort by able-bodied and disabled designers

Music for everyone Shirley Salmon tells us her experience

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Fun time at the ReHabAid Centre for Children A centre that helps disabled children to live a meaningful life

Enjoy yourself tonight with the disabled A television show that put the message of integration across to millions

What is to be done?

International Symposium to discuss on arts activities involving disabled people

Fringe activities in support of Festival spirit Let the spirit go on

It's just the beginning A review of what the Festival has achieved

Festival Diary Venue map Acknowledgements Committee List Sub-committee List Staff List

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or a fortnight in April, able-bodied and disabled people came together from overseas and Hong Kong to take part in Hong Kong's Festival of Arts with the Disabled. During that time they demonstrated that the arts are accessible to one and all, no matter what their circumstances.

At the conclusion of the Festival of Arts with the Disabled, I should like to thank everyone who took part in the programme, and also to congratulate the organizers of this event, whose great success has brought enjoyment to so many.

Lady Youde Patron, Festival of Arts with the Disabled

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he Festival of Arts with the Disabled is regarded as a pilot model for similar events, and its philosophy and experiences will be of immense value to all countries in the region.

I am pleased to learn that both disabled and able-bodied people have enjoyed the exciting and varied programmes presented by the Festival.

m(l/7 ~~0_ Dr. Harry S. V. Fang, CBE, LLD, JP Vice-Patron, Festival of Arts with the Disabled

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he Hong Kong Arts Centre is proud to have provided the intitial encouragement for the Festival of Arts with the Disabled and to have been its administrative base. I would like to express my appreciation to all those involved in the Festival: the Hong Kong Jockey Club, Citibank and the other sponsors for their encouragement and financial support, the committee of the Festival for their insight and supervision, the Festival staff for their dedication and hard work, all the participants as well as the general public. We all came together happily to enjoy and celebrate this Festival of integration.

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Sir Run Run Shaw, CBE Chairman of Hong Kong Arts Centre Board of Governors

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he Festival of Arts with the Disabled provided a programme of various arts to help the able-bodied and disabled people explore their talents. By encouraging them to work closely together, the Festival also helped promote integration and understanding between able-bodied and disabled people.

This is a major step forward and I am glad that we are moving in the right direction.

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Dr. the Hon. Henrietta Ip Chairman, Festival of Arts with the Disabled

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MESSAG~ M THE' INTERNATIONAi: eeMMITT-EE, ARTS WITH THE HANDICAPPED he Festival of Arts with the Disabled is a significant beginning for people in Hong Kong and will serve as a model for people in other parts of the world. You have begun to show that the arts have the power to unite people, able-bodied and disabled, in a society that is just for all. The International Committee, Arts with the Handicapped welcomes you to join our worldwide effort and congratulates you on your perseverence and success. I am sure there will be many positive programmes that will develop as a result of your efforts.

Joanne Grady, Director, International Committee, Arts with the Handicapped

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EFIAB1ttTAT10N-INTERNATIONAI: he Festival of Arts with the Disabled, with its strong emphasis on the integration of people with disabilities in cultural activities, is a major step forward in the world of rehabilitation. Rehabilitation International wishes to commend the organizers of this prestigious event for their tireless efforts to locate some of the best talents in the performing and visual arts to participate in the Festival. We congratulate you on your success in organizing what we trust is the first of many Asian arts festivals that includes the concerns and talents of the disabled community.

Susan R. Hammerman, Secretary General, Rehabilitation International

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e wish to congratulate the Organizing Committee of the Festival of Arts with the Disabled for their good work in organizing this successful event. The Festival has helped bring to the attention of the public the need for disabled children to be integrated in their own community. We hope that the Festival has aroused this awareness and generated support from the community for disabled children. We wish the people of Hong Kong best in their continued efforts for the care of disabled children.

Ahmed Mostefaoui Regional Director of East Asia and Pakistan, UNICEF

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Art is a shared legacy which transcends physical or mental handicaps.

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541 Only on the fertile soil of care and concern can the seed of a healthy, integrated society germinate and grow. _ ,.,, R 11 iff~ t~ JR s: ttn e':J ± 1Ja , ~ ill llHD lli e':J f ii @i t @ iii ,1trHi I\

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,,, rt is a shared legacy which transcends physical or mental handicaps. Or at least it should be.

In the Festival of Arts with the Disabled, we took a step in the right direction. Since the event is also the first in the region, its significance doubles.

six di s ricts, r re g rgeous mural pain ings that Ho Kong eopl h uld feel p oud of.

Many events were planned for the Festival, but the one that had the most media coverage and a tremendous amount of public involvement was the mural painting project held in six districts scattered all over Kowloon, Hong Kong and the New Territories.

Children of special schools and their sister institutions were encouraged to take part in the painting and professional artists were invited to lend their expertise to the project.

Most of the art teachers and professional artists welcomed the concept Art as it is taught in schools is still very much bound by a rigid syllabus. They thus felt the project would offer the children a good opportunity to let loose their imagination beyond the confines of classroom curricula.

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All the teachers and artists were convinced about the great significance of the project. as they knew that the children involved included those from the disabled community such as the deaf, mentally retarded, physically handicapped, together with able-bodied children as well.

For example, in the Tai Po District project, the children of the Pinehill Village Schools contributed their part.

This is an institution for the mentally handicapped ranging from pre-school to advanced technical training classes.

In the Eastern District, the children of Victoria Park School for the Deaf, Canossa School of the Deaf and Queen's College were having a great time splashing the paints of such contrasting colours onto the walls in whatever way they felt fit to depict the "Wonderful World" they could envisage.

In both these districts and in others as well disabled children worked hand in hand with able-bodied students to beautify their living environment for a better quality of life.

The children themselves vvere all for the idea of mural painting. All children - be they able-bodied or handicapped - have a very strong sense of colour and shape. Their way of thinking is neither hidebound by rigid conventions, nor paralysed by stifling traditions.

Indeed, they still retain the kind of spontaneity and sincerity that are so often lost in adults.

The first time the materials were brought to them to try out, they were wild over the bright colours and set to work without hesitation. It was very refreshing to see them dip their brushes into the paint pots and apply them right onto the canvasses.

One little child, unable to express her ideas in a conventional way, drew instead a bright blob of colour, added an interesting spiral and announced that she had just represented the K CR train stopping at Tai Po Station.

It did not look like a train at all to the conventional eye, but there was certainly an element of a vibrant life in her strokes that suggested the essence of a train. It was a stroke that would put many an abstract artist to shame.

In the district of Kowloon City, the children with learning difficulties were working in perfect harmony with the students from Pui Ching Middle School. Their work "The Countryside" was a joyous picture of colourful flowers and green grass, bright sky and blue sea, with of course animals like dog, horse, elephant and whale represented in such a typically naive way as are common in children's paintings the world over.

It is worth noting that if one had gone to all the venues, one might be struck by the children's peculiar way of applying colour to the objects. For example, the mentally retarded children in Kowloon City used pink colour for the elephant and purple colour for the whale.

In Yuen Long District, one child again used pink colour for his buffalo. Psychoanalysts may find out something interesting from this as to the sub-conscious mind of the painters.

The children artists were enjovinq themselves very much. In some of the venues, younger passers-by living in the area were so captivated that they wanted to join in .W here practical, these children were allowed to take up the brushes.

In all the six districts, the able-bodied and disabled children worked together on a piece of wall that was to document their art, an objet d'art that the children, the artists, the teachers and all the.residents living nearby should feel extremely proud of.

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remember, when I was a boy, rowing with my grandfather far out onto the lake one night.

The water was so still that you couldn't tell where the horizon was. Stars above, stars reflected perfectly below. I remember asking my grandfather ...

What are stars really for?"

A man of letters may be so much fascinated and inspired by this beautiful scenery that he may sentimentalize over the twinkling stars and the quiet lake in the form of poems. However, how does a deaf-mute express his feelings deep down in his heart if he is surrounded by such idyllic scenery on all sides?

The quoted monologue above is in fact only part of a drama performed by a theatre group of the deaf people.

What follows is an intimate dialogue between the grandfather and his grandson. The old and the young recreate the beautiful scenery they envisage and express their feelings by means of sign and body languages. With only their hands, bodies and facial expressions, the grandfather and grandson faithfully depict the beautiful scenery of a measureless expanse of blue sky, with twinkling stars reflecting on a glassy lake, as vivid and as real a scenery as if it were just in front of you.

Hong Kong does not have a theatre of the deaf. To most Hong Kong people, this is quite a refreshing idea. But, in other parts of the world drama groups of the deaf have already gained support and recognition from the general public. Their artistic achievement has also been acknowledged by professional dramatists.

Hearing people may have difficulty in grasping the meaning of a drama performed solely in sign language.

In view of this, many theatres of the deaf provide narrations for easy understanding of hearing people.

With sign language that excels in vivid portrayal of things, plus clear and easy-to-understand narrations, the theatre of the deaf can evoke the imagination of the audience and make a dramatic impact that is no less forceful than other types of theatre.

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About 19 years ago in the United States, a group of

young enterprising deaf people introduced to the world the first theatre of the deaf. The group was called the National Theatre of the Deaf and their debut was well received by the public. Ever since, the number of theatres involving deaf people has been growing. And yet, the National Theatre of the Deaf is one of those that has gained international fame. Invited to give performances in the Festival of Arts with the Disabled, the National Theatre of the Deaf won high acclaim among Hong Kong audience, both hearing-impaired and hearing people.Many people were lost in reflections upon seeing the performances of the National Theatre of the Deaf. They now realize how effective are sign and body languages as a medium of communication. When we communicate with other people, we may sometimes come to a situation that words fail us; we all may have had the experience of joy or agony that is beyond expression in words. In situations where words fail, a nodding smile, a warm handshake or some other gestures may better clear up misunderstanding than is possible for any conventional language.

The National Theatre of the Deaf brought to Hong Kong a wide repertory. A short play called "Children's letters to God" was as refreshing as it was humorous. A small girl wrote a letter to God, in which she says, "Dear God, my name is Roberta and I want a baby brother. My mother said to ask my father and my father said to ask you. Do you think you can do it? Good luck." Another letter says, "Dear God, I am the only one in my class who is Chinese. They all say that you are American, but I am too, so you could be Chinese, right? Your friend, Kim." The National Theatre of the Deaf has broadened the artistic horizon of the Hong Kong people; it has also changed the attitude of many people towards deaf people and their sign language. A group of hearingimpaired youth is now keen on organizing a theatre troupe of their own. If ever Hong Kong people do have their own theatre of the deaf, much of the credit will be due to the Festival of Arts with the Disabled which brought about this valuable cultural exchange.

Pho/Os by Liu Kai Kwong

Press Comments: It was a real delight to watch the performance of the National Theatre of the Deaf, to be further amazed at their many creative ideas. It was indeed a treat to the hearing-impaired people of Hong Kong ..... (they) inspired the imaginations of so many people.

Wen Wei Pao The National Theatre of the Deaf shattered the belief that theatres of the deaf are only catering for the hearing impaired. They challenged the traditional concepts of the theatrical arts.

Tsui Wing-suen, Hong Kong Economic Journal

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(They) so successfully blended together conventional language, sign language, body language and mime into a new art. The stories are interesting, deeply moving and inspiring.

"Drama Magazine" programme, Radio and Television Hong Kong

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hen I arrived, there were four students sitting in wheelchairs, and the fifth one, I was told, was a dumb person. Their eyes were sparkling with curiosity, anxiety and doubt when Mr. Chan, the warden of Woche Hostel, introduced me to them as their ceramic teacher. It would be a challenging job indeed, I thought to myself. Could I really help them develop their artistic talents? Could I communicate with them at all? These worries were then lurking in the back of my mind. I must confess that I did not have much experience in dealing with the disabled other than a brief encounter with the mentally retarded. However, I was relieved the moment I saw them, with their sparkling eyes and curious faces. There might be some difficulties lying ahead, but my long experience of teaching ceramics in Canada enabled me to regain my confidence.

I designed a flexible but comprehensive course for the disabled students in such a way that they could not only contribute something to the Festival of Arts with the Disabled through active participation, but they could also continue their pursuit in ceramics even after the Festival. As a matter of fact, the course was designed as much for the disabled as for the able-bodied. First, I introduced to them the rudiments of ceramics by teaching them the basic handbuilding techniques. I also advised them to work on clay with hands instead of tools because it works better that way. I treated them like ordinary students. What I taught the able-bodied students, I taught also to them because I think all men are endowed with potential, in spite of disabilities.

I understand that living with a disability tends to make them feel inferior to other people. I tried to help them gain back their confidence and let them realize that they could do creative work independently as long as they were willing to try.

18

In thetwelveweeksofthecourse, I made it clear to them that I merely taught them the handbuilding techniques, and they had to do the work themselves. I would of course help those who really needed some kind of assistance. For example, Kam Mui's left hand does not function properly, and I would lend her a hand whenever she had any difficulties in putting the clay into the shape she wanted. My overall impression was that they were willing to learn. They worked hard during those twelve weeks, and tried equally hard to overcome their

Photos by S. L. OR

disabilities that were in some ways or other hindering their work. For example, they practised the more difficult techniques many times until they reached wellnigh perfection. True, they were making progress slowly, but the fact is, they did improve.

The ceramic works that they produced show that they have a feeling for the arts. Bursting with creative energies, they also have no less a perceptive mind than the able-bodied people. What they need are just our attention, appreciation, care and encouragement. For example, Kam Pui has to sit in a wheelchair because of his back problem, but the rest of his body functions perfectly well. He learnt fast, and if he could spend more time practising the skills, he would surely create something of immense value.

Twelve weeks are certainly too short for any perfection of skills, but that was a good start. They have more to learn in the days to come. The Festival of Arts with the Disabled provided them with a good chance to develop their creativity. Will they keep it up after the Festival? Can I allow myself to let them stay behind? Is it worth my time and energy to help them develop their potential without any other support?

The Festival of Arts with the Disabled is now over, and I wonder how many people in Hong Kong really know about the Festival and its aims. Do they think it is worth the time, money and energy in having such a festival?

Do they realize that the disabled have also contributed a significant part to the Festival? Do the parents appreciate their children's works? Do they have concern for their children's artistic development? I remember vividly that very moment when the students cried out in excitement upon hearing that I would corne back again for another course in May. Kam Pui and others will move on, but what about the others who were ·

involved with this Festival? Will they fall back or move forw ard?

I am grateful to the organizers of the Festival of Arts with the Disabled for giving me this valuable opportunity to get to know the disabled. I should especially thank Mr. Chan for his kind permission to let me carry on with this course, although we do not know how long it will last.

Finally, my most heartfelt gratitude should be extended to my good friend, David Elliott, who was born handicapped. He is a gifted artist and a professor at Concordia University, Canada. Ten years' acquaintance with him had totally changed my outlook towards life.

He made me realize that those who are truly dedicated to the arts will value most the result and effort of an artist. Whether the artist is disabled or not is simply not relevant.

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--,

USIC ISFORFUN

JOTONG TANG

o you know one can create good music out

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, of kitchen utensils like plates, bowls, kettles

. , ,,~ , and cans? I'm not joking. And in fact all kinds of music like jazz, marches, music box dance and even traditional Chinese melodies can be played.

Many people are unware that things around you, if you can make good use of them, can make heavenly sounds of music that is far beyond your imagination. And they sometimes give you no less fun and entertainment than the violin or piano.

The Music Playground was a Festival event based on the concept of bringing music to the ordinary home so that the barrier between music and the community can be broken. The purpose was to make people realize that one can enjoy music whenever one cares to make an effort Professional percussionist Lung Heung Wing of the Hong Kong Percussion Ensemble was invited to organize this musical event to demonstrate the point.

And can you imagine what instruments they used?

Just plates, bowls, kettles, cans, barrels, sheet metal, water pipes and planks.

Lung Heung W ing and his partners had spent a great deal of time choosing the right kettles and plates that gave the right note. Sometimes they had to make indentions on the kettles in order to get the right pitch.

W ith all the plates, kettles and other things ready, they had a full orchestra with them.

Big barrels emitting low frequency sounds were used as tympani and side drum. Plates and kettles of different sizes and pipes of different lengths were like the strings of an orchestra because each of them can give out a distinct and accurate note which together can form beautiful melodies.

One Chinese piece that won the most applause from the audience was a traditional melody called "Songs from a fishing junk by night". The pure musical notes from the big and small plates and kettles made such a soothing melody that reminded one of the beautiful Chinese countryside landscape by night, where river banks were dotted with dim cottage lights and songs of the fishermen just back from their fishing trip were lingering in the air. The tinkling of the chimes made with metal cans chained together reminded one of the gentle breezes blowing ashore. Quiet and peaceful as it was, one could hear the river flowing, the sound effect of which was made by striking the thunder sheet which then emitted some flushing sounds in crescendo somewhat like the tides of a river.

The audience were completely overwhelmed by the performance. They derived as much pleasure from this unconventional music as the performers did. While the grown-ups were satisfied with just listening, the children were all eager to try their hands on the instruments.

Some fortunate ones were invited to come out and led by the performers to play some simple tunes. Not a bad introduction to music! Music is for fun, and for everyone!

There were a total of eight performances in such different venues as public parks, community centres and special schools. The one in New Town Plaza, Shatin drew a huge crowd. However, the one held in the Canossa School for the Deaf was the most unforgettable. Many of the students there were hearing impaired. They carried a listening aid with them.

Crowding around the stage, they listened very attentively with their aids. Many of them· put their hands on the instruments to feel the vibrations. Their serious facial expression and their eagerness to hear every note left an indelible mark on the memory of those who were present. The Sound Playground was truly a joyous event for the disabled and the able-bodied as well.

21

Photos by SLOR

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dimensional objects not only for appreciation with the eyes but also for appreciation with the hands. I felt that was a great idea, and promised her accordingly to give hatever help she needed. Such an exhibition would ot only give new experience to ordinary exhibition oers, but it would also let those who cannot see have, erally, a "feel" of the objets d'arts with their hands.

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ing-surn

bout a year ago, Bernadette Lau told a group of artists that she was going to organize a Festival of Arts with the Disabled. To make the Festival a success, she said, she needed the help and support of the artists. She mentioned at the time that my sculptures were excellent "touch" pieces in the sense that they gave you an elated sense of ecstasy when you felt with your hands the contours of the sculptures Therefore, she asked me if I could help her organize an exhibition of sculptures and other three-

ter, when the festival project got underway, I started involved myself with the Festival by helping to anize the "Please Touch" Art Exhibition. I was very ited to receive from the artists some very encouraging responses. They welcomed the idea of having an exhibition where, contrary to the norm, people are encouraged to touch the exhibits with their hands. There were a total of 21 artists participating in this exhibition, including sculptors, painters, and other artists. Bursting with creative energies, these artists are very active in the local art scene. There were 32 exhibits, playing on various themes and experimenting in different media. The materials used included marble, bamboo, wood, metal, ceramics, glassfibre reinforced with polyester resin, limestone, cloth, and even mixed materials.

Designed by Mak Hin Yeung and Mak Hin Ming, the layout of the exhibition could freely accommodate those moving in wheelchairs, in such a way that all the exhibits in the hall could be accessible to them. For the

Photos by S. L. OR

23

convenience of the blind people, there were strings linking all the exhibits with each other, which in a way indicated the order of the exhibits, so that blind people could rely on the strings to show them the way.

Furthermore, Braille tag and cassette tape recorders were provided for the blind people who wanted to have a brief background information on the artists and their exhibits.

The "Please Touch" Art Exhibition was perhaps the first of its kind in Hong Kong. That is not new any more in the West. Some notable examples are the British Museum, Natural History Museum and the America North Carolina Museum, which have all held similar exhibitions before. However, we in Hong Kong should create our own style of exhibition instead of reproducing those of other people. Nevertheless, their experience was of immense value to us.

Some of our exhibits were specially made for the occasion, while others were selected from the recent works of the artists. Without the visual impact, one might have had difficulty in getting to know the artist and his work through touching, and yet one could not he!p but marvel at the creativity of the artists and at the same time enjoy feeling with the hands the striking contours of the exhibits.

24

The "Please Touch" Art Exhibition took place in the Exhibition Hall of the City Hall, with more than 4,000 visitors in five days. Then, the whole exhibition went to T suen Wan Town Hall, with more than one thousand visitors in six days The total number of visitors was over 6,000 of which 350 were blind people and 1,000 were other disabled people The high proportion of disabled people coming to the exhibition was encouraging. The responses from the blind and the sighted people as well were positive. Many felt that layout of the exhibition was simple and unassuming, with enough space to give a sense of elegance. Most people, be they blind or sighted, liked to move around with a cassette recorder provided free to those who wished to have some background information on the exhibits and the artists.

The most popular exhibits were Chiu Wai Yee's "Draughts", Mak Hin Yeung's "Chair", Lai Yat Fong's "Embrace II" and Michael Lee's "Polio Girl". These were the items that most people liked to "touch". All the people I met said unanimously that they hoped to see more of this kind of exhibition in the future.

Press Comments: Mr. Pong, a blind man, said, "Up till now, exhibitions of any kind had never considered the needs of blind people. The "Please Touch" Art Exhibition is different We can now appreciate the works of art by hand. The moment I put my hands on the exhibits, I was so excited and spellbound that words failed me. It would be wonderful if more exhibitions of a similar kind would be held in the future Ta Kung Pao

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~ ,·· ... he "Poster Exhibition" was unique in the sense that it exhibited a collection of over 100 pieces of objets d'art executed by children from 49 countries. It included a wide range of draw ing, pastel, colour-pencil, watercolour, Chinese w ater-ink painting and paper mosaic. All the posters were winning entries of an intern ational poster com petition Jointly or ganized by the W or ld Health Organization, the League of the Red Cross and the Red Crescent Societies under the them e of friendship betw een disabled and able-bodied children.

From the paintings, one can easily discern that the children artists possessed a myriad ways of expression and were w ell-versed in different kinds of painting skill as well. Looking at the masterpieces chosen fo r this exhibition, one cannot help being spellbound by the innocent and ingenuous nature of the children. The theme oft heexhibition was "Integration - through the eyes of a child" and the children's paintings do remarkable serv ice to it, w ith a warm and cheerful tone typical of a child.

Photos by S LOR

The paintings reveal well enough the world view of the children: they are optimistic and aspiring, and won't easily give up once they have set the target. The disabled children shown in the pictures get along well with the able-bodied children: they play together, study together and care for each other. That is what their life is all about and they were merely making sketches of their real life, a life full of joy and happiness as shown in all the paintings.

The paintings came from a wide range of countries of diverse cultures. And yet one is amazed to find that all the children show more or less the same sympathetic attitude towards the cause of integrating the disabled.

One will neverforgettheworld winner entitled "W eare happy little birds" executed by an 8-year-old boy from Tianjin. In the painting is vividly portrayed a group of children, disabled and able-bodied as well, chasing after each other in a bamboo grove. The physical barrier separating the disabled with the able-bodied means nothing to them: Indeed, they are having a great time together regardless of the barrier, as the painting clearly shows.

Nowadays, whether one is disabled or not does not make that much difference in life. What counts most is how one feels about it deep down in one's heart. So long as one has an optimistic outlook towards life, one is free to pursue a happy and meaningful life, like "happy little birds" hovering freely against a measureless expanse of blue sky.

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DANCE WITH THE

WILLY TSAO, City Contemporary Dance Theatre with the Blind" workshop was a r~ yth "Dance ree-session course each lasti ng for one and a half hour Four blind people participated 1n the workshop, and I explored with them the possibility of dancing in the dark. This was a new attempt, and we were not sure whether it was going to lead us anywhere.

We all understand that dance is a sort of body language, and the dancer is merely using his body and limbs to express his ideas and feelings. In a sense, everybody can be a dancer as long as he can express himself through his bodily movements. This new interpretation of dance offered a theoretical framework to guide our experiment.

That was our first experiment, and needless to say, we encountered a lot of unexpected difficulties. If my memory serves me right, we had a total of twelve blind participants in the first session. Until then, I did not realize that there is a great difference in the degree of blindness: some are totally blind, some partially sighted, while some others are visually impaired. And my workshop of course could not satisfy the different needs of each type of participant. For example, the visually impaired have more or less a sense of direction and thus can dance and act in the way one demonstrates to them. Indeed, they need no more than the same basic training given to ordinary beginners. However, the totally blind need something different which requires more patience. Their progress is also much slower.

After the first session, we had a review over what we had done. We all agreed if we really wanted some kind of breakthrough, we should concentrate our effort on dance with the totally blind. Therefore, in the following two sessions, only four totally blind participants remained in my class to continue the experiment. The result was much better, and I think our achievement will have widespread repercussions.

Since blind people cannot perceive demonstrations, I

had to explain patiently to them, by words as much as by means of body language. That was my first experience using, instead of demonstrations, only verbal explanations to describe bodily movements. To me or to other dancers like me, that is a novel experience indeed. Long time ago, I developed a fondness for dancing through its visual impact on me, and, ever since, I have been exploring ways to transform this visual impact into my own dance movements. In my "Dance with the Blind" Workshop, I had to explain this transformation in words, more often in the kind of words that I would not have otherwise used if I taught sighted people to dance. This experiment has indeed enabled me to look at dance from various viewpoints, deepening as a result my understanding of dance, as much as broadening my artistic horizon.

Throughout the three meetings the four blind participants exhibited high spirits and a persistence to achieve something. They were very attentive during the class, always trying their best to capture the image that I attempted to convey to them through words, and then making their utmost effort to transform the images they perceived into bodily movements. When at the end of each session I told them that time was already up, their immediate response was "Why so fast?" And then they all remarked, "I'm so exhausted!" They had such a serious attitude towards learning and experimenting that is not easily found even among sighted people.

Since the four blind participants had attended only three sessions on the basics of dancing, it is still too early to tell if they have come up with any breakthrough or achieved anything significant. Nevertheless, whenever I think again of these four blind people, of their twisting their bodies, stretching their limbs, moving at times slowly and at times fast, communicating with each other through body contacts, I cannot help exclaiming, "That's dancing in every sense of the world."

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t had just rained early in the morning and everybody felt it was going to be a miserable day Despite that, people at the New Town Plaza, Shatin were still busy fixing the microphone and decorating the stage which was temporarily set up on the fountain at the outdoor square of the Plaza. It looked as if something important, and surely exciting, was going to come of it

Competition for Children and Young People held in Finland as well as the World School Children's Art Exhibition held in Seou I. No wonder they had reached such a high artistic standard.

All objets d'art contain more than is immediately obvious. What we see is only the end-product of a creative process. But, this process is also a learning process and is at least as important as the end-product itself. The Arts Fair showed that the hard work and dedication of the disabled artists will now be recognized by the public.

At last, the sun came out around ten o'clock. As if to celebrate the sun's coming out, a huge crowd of audience got themselves seated on the spectator's platform. They were there to see the performances in the Arts Fair which was a potpourri of art exhibition, dance and singing performances by both disabled and able-bodied artists.

Some of the special schools and their sister institutions took their students to the Arts Fair. The disabled artists were wild with excitement when they saw that their own works of art were being publicly exhibited. Only then did they realize that they had achieved something of significance, something that society can feel proud of.

On the other side of the stage, people gathered around hundreds of colourful exhibits arrayed on tables and boxes. There were pottery, leather and wood work, cushions, paintings, plasticine modelling and baskets woven with nylon straw, all done by disabled artists, which included the physically handicapped, mentally retarded, deaf and blind people.

There, on the stage, performances started at 10 30. The programmes included folk dance, Chinese music, aerobics and Sound Playground. The spectator's platform was crowded with people many of whom had come all the way from far-flung districts. They had a great time watching the shows, and the programmes proved that their long trip was worth it.

As one strolled around the square, one was amazed that some of the objets d'art had reached so high an artistic level. For example, some of the paintings by disabled children exhibited a mature style of their own, with a harmonious balance struck between the form, composition and colour that is seldom found in children's paintings. Looking closely revealed that the paintings were executed by deaf painters some of whom had won prizes in the International Painting

At the back of the stage, a group of disabled artists were demonstrating the tech ique of silk screen printing.

There was such a hugh crowd surrounding the performers who were all physically handicapped. It was such a deeply moving scene to see them demonstrating the whole working process: they had to spend so much more effort and time than able-bodied people do in making just a silk screen print. But when they did, they did it equally well, if not even better.

Parents took along their children to the Arts Fair.

Pointing to the objects, one mother even said loudly to her son, "See how beautiful they are! I don't think you can do better than they " The son hid behind his mother, shy and ashamed. There on the stage, dance and singing performances went on. The audience were captivated in an atmosphere of JOY and festivities.

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DARYL RIES

rom ballet to jazz, modern dance to social dance, tap and folk and finally just basic movement to music - dance encompasses many areas giving pleasure to many people.

Adaptable as a performing art, the potential of dance in the area of health and recreation has not been fully recognized. While educational institutions, rehabilitation centres and hospitals have largely ignored the vast therapeutic potential of the arts, some artists have made in-roads in these areas with notable success.

34

Gina Levete is one of these, whose success has been not only notable, but far reaching in her native England, and is now beginning to show effect throughout the world. Her visit to Hong Kong for the Festival of Arts with the Disabled along with her assistant Wolfgang Stange gave us a chance to see her methods in action

Gina Levete ItM!ffllt

and to perceive how effective dance and the related arts can be, for not only the average individual but for the disabled as well.

Asa former dancer, Gina brings her training in modern dance to her work in a variety of situations with the disadvantaged or disabled. This movement experience breaks down the elements of dance into the abstract categories of space, time, dynamics and so forth. It brings one a greater sense of identity in relation to the environment and stimulates the imagination of the individual beyond their physical limitations. With innumerable 'games' that draw on daily activities, gestures and movement habits, an awareness of movement and its expressive value in our life becomes apparent.

Fun, and the emotional release that it brings, are what Gina believes is lacking in the lives of those cut off from

Photos by S. L. OR

social communication by the restrictions of physical disability or mental handicap.

Everyone, she says, is born with a sense of rhythm and responds naturally to music and movement, and in years of dedicated hard work she has proved her point.

Music with mentally handicapped children; creative writing with geriatric patients; movement with physically handicapped adults; drama with homeless women; steel band classes with borstal trainee s - these are oniy a few examples of the weekly workshops she has initiated through 'Shape' - a wide ranging organisation with branches throughout Britain and Europe bringing artists of all disciplines into a network servicing disadvantaged people.

Many people with a modern dance background can prepare this programme for improvisation wor k with children, old people and, with varying degrees, the disabled and disadvantaged. Gina Levete has created that opportunity for dancers, as well as practitioners of all the arts, in England. But other than in major W estern urban areas the oppor tunity for artists to interact with the community on this level is limited.

In Hong Kong this community involvement of artists is, as yet, undeveloped. Perhaps the value of the Festival is in changing that wasteful situation into one that is more productive for the community as well as the artist.

Gina is not suggesting any specific cure resulting from this work; nor does she refer to herworkastherapy. She reserves these words for those who work in the medical profession, which she makes no claims to. She claims however, that her work is strictly for the pleasure and social development of those involved - for whatever reason they may be excluded from or limited in their interactions with society.

W olfgang Stange is a specialist in dance for the mentally ill and has created a dance company based on their choreography. His acheivements, like Gina's, are apparent. They have the lucidity of experience that as well shows a wholehearted dedication to their work.

They are not only inspiring, but offer sound advice whether on the creative or administrative level. After all, Gina began her organization 'Shape' in England at a time when artists had never been considered for such work.

W ith the arts gaining recognition in Hong Kong, it is feasible that in the future new oppor tunities for artists will emerge, not just in the performing and teaching

areas' but in community service. A problem in Hong Kong, other than breaking down the barriers between artists and the community, is the lack of training for the artist in these areas of practical, public communication.

As most of the dancers here are trained without a creative base but, simply in a format oftechnique, they are not in a position to develop appropriate material for their non-dance audience.

When Gina began a 'Shape' programme in England there were no shortage of professional artists to fill the gap, but there are too many gaps that exist right now in Hong Kong. But Gina was enthusiastic aboutthe potential in Hong Kong, and artists she met here feel that it is about time to begin a programme here.

Bringing people like Gina to Hong Kong is one of the aims of the Festival of Arts with the Disabled, so that people in the same field get to know each other and share experiences. With a background in modern dance for many years, I myself have been refreshed in relation to Gina's work with the disabled. But receptivity to it and for it must be nurtured on many levels.

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was mvited by the Festival of Arts with the Disabled to give a series of theatre workshops .

I or the members of the Hong Kong Federa tion of Handicapped Youth. Most of the participants had some kind of a disability except c1 few who wore able· bodied. 111 ,1 sense. the theatre workshop represents ,1 sign of cooperation between the disabled c111d the able bodied. Most of them did 1101 havo anv staqcoxperionce at all; some even had never before qono toil theatre.

My workshop was 1101 meant to teach theories but to qivethem an opportunity to develop a "leel" for the theatre arts through actual actinq. They also learned basic theatre tccluuques through theatre grnnes that I devised for them. These games were so adapted as to make it possible even lot the phvsicallv hundicappod to

FOR DRAMA KO TIN-LUNG

participate The aim of the qarnes was to help build up a sense of mutual trust and cooperation arnonq the members as well as to stimulate their creativity. I told them frankly, "0011'1 be too lenient to yourselves simply because you arc disabled. I am expectinq you all do cverythi11g by yourselves such as writing the play, diroctinq and coordinatinq back stage work."

The participants qot veryexcitedwhen they learnt that their production would be staged as one of the proqrarnmcs of the Festival of Ans with the Disabled.

A lcwof them, however, were a bit worried. That was quite natural. Therefore, I told them, "If you have set your target, you should go lull-steam for it." I was deeply moved by their high spirits because I understand

l'/1<}/()S !,y C,'/,,111

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that for any kind of work they have to spend more time and effort than able-bodied people do.

We rehearsed three plays. One was a muppet show called "The story of Tom," which was actually an improvized performance. In addition to public performances in the Festival, the muppet theatre had also been staged before an audience of disabled children. I personally feel that the muppet theatre is the kind of performing arts that disabled people can master well. In spite of our running out of time, we managed to stage the show, with good responses.

The second play "Us and Them" is a translated play.

The size of cast for the play enabled me to let all the participants appear on stage as actors in the play which was one of the reasons why I chose the play. Full of actions and gimmicks, this play was not originally written for disabled actors. Nevertheless, it served as an experiment, as to whether an ordinary play, especially one full of actions, is suitable for the disabled.

The third play was the brainchild of all the participants.

The play is about a group of disabled players rehearsing a play concerning the disabled. It is, soto speak, a play about a play. We based our play upon real-life characters and real events, making changes here and there during the rehearsals. All the participants were then able to experience the whole process of working upto the final version of a play. This will beof immense value to them if they are going to write plays in the future.

38

Besides appearing on stage, the participants had also a chance to gain some working experience related to back stage.

After the performances, we received quite a few favourable comments: - That was marvellous not so much because they are disabled but because the play itself is good.

- All the roles in the play "Appearing on stage" have their own character. If that was performed by able-bodied actors, the dramatic impact would not have been so forceful.

- They did not go to extremes. They just showed life as it is, not a bite more, nor a bit less. They did not try to be sentimental, nor to overdo any part.

- It is encouraging to see the disabled performing together with the able-bodied. We should not have discriminations against others who happen to live with a disability.

- At the end of the performance, I really wanted to dash on stage to embrace them. It was a marvellous experience for them, for me and for the audience.

Press Comments: After the performance, I had no idea who was disabled and who was able-bodied. I felt that as a group they were truly dedicated actors in every sense of the word.

Chung King-fai, Ta Kung Pao In their drama production, the disabled people did not show any inkling of self-pity; nor did they portray the characters in a so-and-so-is-to-blame tone. Instead, they showed courage and dignity .... Through their production, they have given the disabled a new look, and the theatre art a new horizon.

Tsui wing-suen, Hong Kong Economic Journal

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JONG SING-WAI

I

he launching of the jewellery exhibition was very much a ''low key" event and yet Norman Siu and Kong Kan Kau started off their exh bition with no less enthusiasm and expectation.

Their joint effort represents a very fruitful cooperation between the disabled and the able-bodied, and, on account of this, we should accord them the credit they rightly deserve.

The exhibition took place in the Members' Club on the 15th floor of the Hong Kong Arts Centre. There were a variety of exhibits including necklace, ear-ring, bracelet, pendant, brooch and other jewellery items.

When one entered the exhibition, one was struck by the splendid colours of the jewellery. Even commercial jewellery exhibitions are sometimes not as colourful as this one. According to Norman Siu, one of the designers in this exhibition, they chose a new type of metal called titanium as material to work on, which made the exhibition as unique as it was colourful. Hard and light, titanium is an aeronautic metal. Through varying degrees of electrolytic oxidation the surface of titanium will exhibit a variety of contrasting colours which will never fade away as do the colours of heavy metals.

Jewellery items made with titanium surpass those made of gold in glamour and elegance as, in the case of gold, there is only one colour to play on and, moreover, it is comparatively heavy.

Another type of material that added colour to the exhibition was enamel. Here Norman Siu used it very unconventionally. Many people throughout the ages have covered the surface of metal with enamel powder which was then heated to a high temperature in a kiln, resulting in a coloured glass-like enamelware. For the exhibition, Norman Siu experimented on new techniques of enamel coating. For example, he put the coatii~g onto the porcelain and the result was remarkable, as demonstrated by those colourful jewellery items in the exhibition.

Norman Siu

i'lB~,~

EVERYONE SHIRLEY SALMON

he work I was involved in during the Festival of Arts with the Disabled consisted of a public lecture and workshops - one for the Symposium delegates and two in schools for the disabled. In spite of having my lecture interpreted there seemed to be little language barrier. The response to the practical activity in the lecture, to the ideas and to the video examples of music and dance with different disabled groups was good. There were not many questions during the lecture, but many once the lecture had finished and we had the chance to talk more informally.

The response in the schools was also very encouraging.

The workshops in schools started off with a presentation of some of my work. This was then followed by a lesson with a group of the children, and the session ended with practical work with the teachers.

The sessions were very stimulating but were a little too short in duration.

42

rt was a great experience for me working with the two groups of children - the first, a group of 10 hearing impaired and profoundly deaf and the second, a group of 10 mentally retarded. Their response to gestures, to the music, to the activities showed that I needn't have worried about any language barrier - they were so involved in what they were doing.

Of course, these workshops can only be a beginning.

The teachers, most of them without any specialist music training, were interested and curious, always wanting to take away ideas for their classroom work. Knowing their children well enough, they were able to pinpoint particular ideas or problems and so make comments and ask questions during a presentation. However some kind of follow-up is necessary as there is such a large area to cover.. Leaving aside the individual needs of the children and the educational goals, teachers need to have some basic musical training - practical rather than theoretical. - to be introduced to the OrffInstruments. I hope that some future courses will be planned to meet the need of these teachers and to present the ideas to teachers who have not yet come into contact with them.

It is important to remember-that a festival is a one-off thing; offering just a "beginning" needing to be followed up and developed. It may not be representative of the on-going work in the community. It must also be remembered that-performance is not everything - I'm sure that there's a lot of valuable work in the arts with the disabled that is not suitable for public performance.

This type of work, like my workshop, involves a sharing on a smaller, more intimate scale which can be just as educative or therapeutic. The sessions with the deaf and mentally retarded kids demonstrated the enormous communicative power of music and movement and were great fun for me too. I hope all the contacts we made here in Hong Kong will be continued and this "beginning" followed up.

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AT B D CE otary Rehabaid Centre for Children and the ~ Festival of Arts with the Disabled jointly organized three half-day programmes for the handicapped children and their families. The main objective was to develop the artistic talents of the disabled children through their participation in various arts activities provided for them and their families by the Centre. They were encouraged to express themselves th rough the arts. It was also hoped that by letting them work together closer parent-child relationship could be enhanced.

The half-day programme consisted of three parts: a muppet show, a demonstration and a tour around the Centre. The muppet show was performed by a group of disabled and able-bodied professional artists. The story was based on real-life events of handicapped children. Hand-made muppets, disabled and ablebodied, were supplied by the Rotary Rehabaid Centre for Children. After the show, there was a quiz contest and prizes were given to the children who knew the correct answers. All of them watched the muppet show attentively and participated in the activities with keen interest. Each child received a little gift at the end of the session. It was hoped that through such activities, handicapped children could find a channel to express their own thoughts and feelings.

The second part of the programme was a demonstration followed by a practical session on how to make lowcost toys out of daily household items and junk materials. Disabled children and their families were encouraged to work together on their little projects This helped stimulate the creativity of the children.

44

Finally, the participants were taken around the Centre on a familiarization tour. The uses of different aids/

THE 0 CHILDRE equipment for specific disabilities were explained to them and wherever possible, the disabled children were encouraged to try out the aids/ equipment.

The Centre accommodated more than fifty parents and children each day. Festooned with colourful balloons and other decorations, the whole Centre was filled with an atmosphere of joy and festivity.

There was a lot of positivefeedbackattheevents. Some parents felt that the Centre was an eye-opener for them and were glad that they came to know the services offered. A lot of questions were raised on the use of aids/ equipment for specific disabilities. Some parents had a sense of achievement after they had finished the toys with their children. They felt that working together brought them closer to their children. Some said that it had never occurred to them that junk could be so useful and that out of them wonderful toys could be made. Many said they enjoyed the visit and hoped that similar events would be organized in the future.

The organizers were happy to see that parents of disabled children came to know each other. They keenly talked about their children and were eager to share experiences on how to handle disabled children.

They helped each other to find ways to tackle the problems arising from the disabilities of their children.

Being in the same boat brought them closer together, fostering in turn a sympathetic attitude towards each other. This is a good sign because the care and concern for each other will become a strong psychological support for them in time of crisis.

It is hoped that parents will take the initiative to get to know each other, support each other, and help their disabled children to live a meaningful life.

Photo by Kenneth Ng

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onight With the Disabled NOREEN NGAN

f all the Festival events, none can be compared with the Enjoy Yourself Tonight show in terms of the number of target audience reached. According to statistics released, the special show with Enjoy Yourself Tonight was viewed by millions of audience.

146

Jointly organized with Hong Kong Television Broadcasts Ltd, all the programmes of Enjov Yourself Tonight on 24th April were devoted to introducing to the public the events and activities of the Festival.

Camera crew from the television station had been sent out a few days earlier to shoot some of the Festival events for screening that evening. F~mous composers Lam Man Chung, Lam Man Yee and conductor Luk Yiu showed their support by composing a theme song dedicated to the Festival.

Photos bv SLOR

Photo courtesy of TVB

From left: Roman Tam, Kenny Bee and Danny Chan.

Opening the evening's programmes was the Lion Dance by the physically handicapped. This traditional form of performing arts was given new expression by a disabled performer. Sitting in a wheelchair and holding the ostentatiously decorated lion head high up, the disabled performer darted here and there swiftly, turning the lion head first left, and then right, in exactly the same way as a lion does when it is out hunting.

Another programme, the sign language singing contest, was the first of its kind in Hong Kong. Three groups of pop singers and television stars were competing with each other in the contest. For each group of two, one had to do the singing while the other had to match the singing, and music too, with lyrics expressed in sign language. The singing was performed

by Roman Tam, Danny Chan and Kenny Bee while the corresponding signs were expressed by Louis Castro, Lydia Sung and Ng Kwan Yue. Their performance was as entertaining as it was educational because a sign language teacher had been invited to teach them the correct signs. The deaf community learned of this programme in advance and most of them watched and enjoyed the show very much.

Another programme of the evening was on-the-spot painting by Mary Cheung, who worked with a group of students from a special school. The theme of their painting was integration of the disabled into the community. As soon as they had put on the finishing touches, the painting was reserved by Mr. Siu Ming

who wanted to show his support for the Festival by contributing the money to the Festival Fund.

There were also a drama show about people's prejudice against disabled people as well as some pre-recorded documentaries of the Festival. As the Festival was drawing to a close, the documentaries were screened at the right time, renewing the memories of those who participated in the various programmes while the general public could share with them the fun and festivities of the Festival.

47

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he organizers of the Festival of Arts with the Disabled (FAD) felt that an international dialogue should take place sometime during the two weeks of the Festival. They felt a need to bring people together, particularly from the Asia-Pacific region, to share ideas, art forms and philosophies, and to discuss future directions of activities like FAD. Attending the Symposium were delegates from the United States, Britain, Europe, China, Japan, Taiwan, India and Thailand. International and regional organizations, such as the United Nations Children's Fund (UNICEF), Rehabilitation International, the International Committee, Arts with the Handicapped (ICAH) showed their support by sending delegates to the Symposium.

Many thoughts were shared and recommendations made in the discussion sessions. The most-talked-about topics were: • Encourage members of the artistic community to work more closely with the disabled community - in schools, institutions, hospitals - and wherever possible, integrate non-disabled people into these grass-roots activities.

• Create an office, somewhat like the Media Office of the California Foundation on Employment and Disability. This office could serve as an advocate both for arts therapy activities and for integrating disabled artists into the mainstream. Public awareness would be central to these activities.

• Encourage internship programmes in the arts - not only on the performance side, but also managerial and administrative positions - that is, people with disabilities working as interns at the box office, being an usher, doing research, etc. Key organizations should be encouraged to give scholarships to local disabled people.

• Start a local and/or regional newsletter, one similar to POSITIFwhich was presented to us by Gina Levete of INTERLINK in the United Kingdom This newsletter would share activities and ideas with readers who could independently reach each other for more information or to work together. The newsletter should be sent to cultural organizations as well as therapy/ rehabilitation specialists in order to stimulate interest and provide practical suggestions for implementation.

Laine Dyer, the official sign language interpreter of the Symposium *~fr-J'g75-'H MJ~il!l.~$ifil

Photos bv s. L. OR

49

Attending the International Symposium are (from left to right) Joanne Grady, Director of International Committee, Arts with the Handicapped; Bernadette Lau, Director of Festival of Arts with the Disabled; Laine Dyer of the National Theatre of the Deaf and Charlie W elch, Executive Director of Very Special Arts Hawaii.

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to ensure implementation of some of the suggestions.

It seems though, that this alone is not enough. A committee needs to be set up in order to carry out the many and varied recommendations which include: 1) Training, 2) Public Education, 3) Networking, 4) Materials Development.

This committee should include people who are disabled as well as members of the arts, rehabilitation and public education sectors. * It is important to maintain relationships which have

been formed through the Symposium. In addition to immediate feedback to all delegates and participants, mutually beneficial work should continue with ICAH, INTERLINK, Rehabilitation International and UNICEF.

50

And we had personal stories. Ms Zen Wai Chu shared the stage with Simon Sum and Wong Kwan Chung as they discussed their documentary "Born to Live". From them we learned elements of both a sensitive and accurate depiction of two men who are disabled. Firstly, and most important, people with disabilities are speaking for themselves. Humor, curiosity and awkwardness are depicted as normal, human characteristics - disability need not be a dry, sad story or a super-hero tale. Ms Zen's sensitivity and professionalism was apparent and I think that it was

everyone's concern and interest that she help us get other directors/producers interested in similar work.

The other important point of discussion was that this documentaryisonefineexample - a start - and now we look forward to the next step - that is, people with disabilities naturally integrated into regular types of programming such as children's television, advertising, dramas, etc.

Alan Toy presented his story - how he has been involved in changes in the U.S. film and television industry. He has been instrumental in setting up and leading the Media Office of the California Foundation on Employment and Disability. He is an actor as well as advocate, and has experienced the evolution of playing only the role of a patient to playing the doctor; and disabled people are being looked upon as consumers of products and therefore worth including in commercial advertising.

I feel that one of the most valuable lessons we learned during the Symposium is that any country, any group, will benefit by positively using the media to integrate people with and without disabilities.

Many questions still remain unanswered after the Symposium. This is, however, how it should be. The hope was to stimulate activities, thoughts and directions, as well as to perhaps inspire a few people to share what they learned - with a few people.

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LET THE SPIRIT GO ON JEAN LO, SIH11 o,, St\Hilil! Cl11ll he Festival of Arts with the Disabled has been an overwhelming success, but what makes its spirit and influence long-lasting is the establishment of a Trust Fund. This Fund will encourage the implementation of the ideals and dreams inspired by the Festival by assisting and sponsoring projects or training programmes in the area of the arts involving disabled people.

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Shui On has always been active in community service through its Seagull Club, a voluntary social service club organized by the staff. The Club is highly impressed with the achievements of the Festival and would like to show their support by taking the lead 1n contributing towards the establishment of the Fund. The donation was raised from a charity walk organized by the Club. Taking part in the walk were the staff of Shui On, their business associates and the Federation of Handicapped Youth.

The Festival has been a most memorable experience for the people of Hong Kong. It is hoped that, as the Trust Fund is activated, more support from organisations and individuals will be forthcoming so that the implementation of the ideals inspired by the Festival will start off smoothly.

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Above and right: The Lions Morrunqhilt School and St. Paul's Convent worked together on a mural pa1nt1ng

ACTIVITIES

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esponding to the call of our Festival on the public to organize arts activities involving disabled people, various groups and institutions held small-scale events and activities in support of the Festival of Arts with the Disabled. The following were but a few of the events.

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A talent show of both ablebodied and disabled people was sponsored by the Wanchai District Board

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A concert was held by the Hong Kong Phab Association. Both able-bodied and disabled people took part in this event.

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Design JOlntly organized a photoqraphv class.

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In the Southern District Sendscapinq Competrtron. teams of able-bodied and disabled people worked together on their sand sculpture.

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he Festivalof Arts with the.Disabled, the first of its kind in both Hong-Kong and Asia, represented the tire less effort and aspirations of the people in the fields of the'artsand rehabilitation.

Built on the foundatien of work undertaken since the -lnterrrational Year of Disabled Persons, the Festival m·arks a mile-stone: not only in the history of rehabilitation, but also-in the cultural historvof Hong Kong.

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Festival has accornplistied more than was expected·at the begir;ming.

The mur.al painting projects were· a most exciting · experience for the-children. parents, teachers, artists~ and local residents. Able-bodied and disabled students Jhe Festiyal aimed at assisting both able-bodied and picked_up the brushes ~nd worked together beautify -' · disabled people to explore their creative talents: 0y their li'{in9 environment. The mural paintings were so providinq- them an opportunity to work 'toG)etlirer in beautifully executed that they put all earlier skeptics to various disciplines of the arts. It alsoaimed at stimulating sharne.. The projects have successfully proved: that endinspirinqlocalartists to search for new 'Possibilities · inthe use of the arts as a medium of communication. anybody can express themselves free1y using the arts as a inediwm. The authorities andthe qeneral public now Final IV, it is hoped that, as a result of tbe F~stival' the -public can better understarid and appreciate those who reali2:,e that colourful murals can brightef'.l up our city . ' .. are living with a disabilitv, and be better prepared to 'The "Please Touch" Art Exhibition drew an inteqrateand include disabled people in,to their evervdav unexpectedl.y lprge number of visitors, a0lffi-bodied and , lives and activities. disablecl alike. The rnu<;:h-publicized fact.that vis1tors • ' ' could't6w::h the exhibits if they liked freed the Xlisitors' ' Span ing a period of two '.w~ks, the Festival from the formal etiql'Jerte th~t one.usually 'has tQ,obse~e successfullv drew more than 50,0CX) able-bodied and . disabled participants. The Festival events.took place in in concerts and museums. As a result, the atmosphere about 40 different 'venues all over theJerritory, attracting· was far more inform~! and- conger.iial; enab1ing the ma~y thousands-rnorespectators' Tbe Wide ran~ge of visitors to ta[~ to each other freC;Jly as to how~they felt , 'proqrarnrnes offered ample opportuaruesfor the artists, · ali>out t,he exhibition. The uniqueness o:f this exhibitio!li " ·. able-bodied and disabjEld alike, to· work together in · , is that fhe blin,d'pedple who were uswally r:ieg'fected fn such e,xhibitions could now apprecipte three- · various disciplines. of the arts. The thousands of participants · and spectators have successtutlv dimensional visual arts by feeling with-their hands wl-)ile demonstrated thatthe arts-are accessible to everyone. sighted visitors also ga~Lned new experiences by feeling witn their hands on the 9triking ~ontours of the objets It has, alsp shown how vital a role arts canplav 1 n ,o ur society. . d'art.

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For fa·r too long, the image'of the disc1bled ha~ been.one of misery and inferiority. lt.is dear that what disabled · groups want .rnost is not pitv or sympathy but acceotance'and understanding. The Festival set outto project an irnaqe of joy eno vitality, energy and dynamism in the interaction between disabled and ablebodied people, wi!h an aim to show that integration could be a positive, creative experience. T? this end the

The "Sound .Playground': bro'ugi,rit' music to the community, music that was created out of househ0ld materials. _;fhe whole idea was new to Hong Keng peopl~. @nd many of the audience were ea§ertci try their ,hancds ·on tbe instruments. By practically providing music for eyeryone, ,this event helped promote integration in a sub~le way. This is the ideal apprpach ' that shoul(::1- by considerecd in the future ..

The studio perform ance by- the Federation of Handicapped Youth. was the result of a dram a ·- wor kshop. It started as a mod est sm ~ll-scale production , but-eventually won high acclaim from the audience, critics and pro fe ssional dram atists. · The m oup, 1 demonstrated the talems. artistic sensitivitv, sincerity

and dedication of an interesting you·ng theatre ensemble. As performing group they will have a Jot to contribute to the theatrical arts of Hong Kong in the future.

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- Innovations and new ideas always arouse resistance, but the National Theatre ·of tbe _Deaf successfully convinced Hong Korig people that disability could be a challenge for the imaginative artist. The National Theatre. of the Deaf has inspired a group of young · people who are hearing-impaired: they want to form their own troupe in Hong Kong. They envisage grear opportunities and possibilities in using the theatre as a vehicle to express their feelinqs and ideas. Again, if this idea bears fruit, it would mean breaking newqround for· the theatre scene in Honq Konq.: - Another area that is equally worthy of development is that of workshops and-courses, where,kno-:Vl~dge and technique are put- to practice and use. Apart from drama, the dance workshop and pottery course have proved to be enlightening for theparticipants as well as the artists. Projects and experiments of this nature are extremely valuable to the future developrrnent of the arts involving thedisabled.

Overseas specialists Gina Levete, .Wolfgang S_tange and Shirley Salmon have stimulated much enthusiasm and won faith; among the locals in the area of using_ ·the arts tor rehabilitation purposes. Headmasters, teachers, educationalists, social workers, therapistsartd young artists learned from these specialists riew possibilities of using.dance and music in schools and hospitals. Their experiences were of immense value to • the people of Hong Kong. · Apart from launchinqits own programmes, the Festival also acted as a coordinating centre anel brought together other events organized by groups or

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institutions in support of the f::estival. Presenting large · andsmell events each according to their own capacities, , these organisations have-helped make the festival truly territorv-wide. This has laid the ground Jor a more promising future of the-arts involvinq disabled people on a popular basis. · The Festival ,certainly caught the imagination of the media. flewspape_rs, 'radio and television all gave the Festival a very _h_igh -profile. There was very wide coverage of the Festival activities both in news stories and in' cultural arid entertainment features and programmes. Our television advertisement explained to millions ot.people the goals of the Festival, and our Joqo, colourful and s'triking,as it is, has become a very · popular symbol reminding people of the ideal of integration.

The lnternational Symposium provided a good opportunity for experts of various countries to get to know each other, share experiences, work out schemes that may bebeneficial toeach other. It was recognized that there.is an on-going need to consolidate efforts on a local level which. should be tied in ·with the· programmes on-a regional basis. Hong Kong is being identified as an ideal .coordinating centre tor ·the networking of similar programmes, and is also being called upon to play an advisory role for futur.e projects in the reqion. ,

The Festival programmes have come to ari end.

However, the Festival as.a movement for a 'cause has ' not ended: iJ has-rather entered upon a new phase.

Indeed, the Festival hasjust started off in the sense that i-t has, kindled a, great deal of interest, ·fnspired the imagination and ambition of many and created yet more new possibilities to be looked into. Thus, upon earnest request, a Trust Fund mas.been establishedto promote the arts involving disabled people and to help realize the dreams and aspirations of those who had spent time and effort to make the Festival a reality. The Trust Fund \.vii\ actively encourage and support proqrarnrnes.and pro]E?cts similar in spirit t0 those of the Festival. It is hoped the Trust Fund office can be a coordinating base and research-centre-at the same time, playin_g as much an advisory role as-coqrdinating liaison work throughout the Asia-Pacific region.

55

It is yet to be determ ined whi:ln 1he need fo r another large-scale fe stival of this kind w ill arise, How ever, it is · hoped that ultim ately the ideals and aspirations of the ' Festival w ill live on and develop into an on-going and

comprehensive programme benefiting other . , disadvantaged members of the community.

If the cultural scene is a true reflection of the sensibility and sensitivity of the people in any place, then this Festival has successfully demonstrated the care and - concern otour people for eacb qt er. Only on the fertile .soil of care and concern can the seep of a healthy, · inteqrated societvqerrninate and grow.

Press Comments: The implications of the Festival of Arts with the Disabled are far-reaching. Not only has it benefited the disabled, but it has also contributed towards the well-being of the community as a whole.

Ta Kung Pao

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The Festival is the first of its kind in Asia and is important for Hong Kong's emerging image as a leader in the humanitarian field .... The Festival seemed to have achieved its point, that disabilities are not necessarily abnormalities; that differences can be blended into new creative expression.

Hong Kong Standard The Festival of Arts with the Disabled is a festival of love and care.

Ta Kung Pao

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(The Festival of Arts with the Disabled) will have wide repercussions all over the world.

People's Daily (Overseas 8:lition) Filling a gap in the local arts scene, the Festival of Arts with the Disabled has created new possibilities in the field of the arts involving disabled people. The Festival provided an opportunity for the able-bodied and the disabled to work together and develop their potential.

Sing Tao Wan Pao The Festival of Arts with the Disabled was an admirable festival where the barriers between the arts and the community were broken down.

Wan Kiu Yat Pao

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PATRON

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VICE-PATRON

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Dr Harry S.Y. Fang, CBE, JP

ORGANISING COMMITTEE Chairman Dr the Hon Henrietta Ip Vice-Chairman Marion Fang, JP (HK Special Schools Council) Members Lucas Chan (Education Dept.)

S.K. Choi (Urban Services Dept.)

C.S. Chong (Spastics Association of HK) Chu Hung-cheung (HK P.H.A.B.Association) Basil Deane (HK Academy for Performing Arts) Aldan Kwok (Rehabilitation Division of the

62

•~e :1J,C,,~~t3l~ ( ~i~i~9$lc~t1ii~ ) ~Ji 13.J~~~ ( t.tW% ) ~~~~~ ( rniEX~% ) ~!Ulil!~Y ( ~i~iWWtfti~ ) '§';~i~i~ttti~ ) TtB:1~ ( '§'i~5~~~B1c) f~mf~ ( t.tWtJE:;H@1lrJi )

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Finale Committee Publicity & General Arrangements

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IT AF' l I s I Director Bernadette Lau

Publicity Manager Noreen Ngan Programme Secretaries Clara Leung Katy Cheng Festival Secretary Elsa Lee

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Festival Ass.istants Annie Chan Elliott Sylvia Jong Sing-wai Rica Kwan Jane Tang Elaine Cheung Linda Ho Technical Director Lena Lee Editor Jotong Tang Designer Or Siu Lam

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"Sign of a caring society - Festival of Arts with the Disabled"

was published by the Festival of Arts with the Disabled at the Hong Kong Arts Centre.

Editor Jotong Tang ( ffllff!ll~ ) Designer: Or Siu Lam ( fiJ'.l># ) Editorial Assistant: Elaine Cheung ( 5ft;iqm] )

Colour Separations by Karl's Graphic Services Co., Ltd. Printed in Hong Kong by Paramount Printing Co , Ltd.

62

All nghts reserved. No part of this souvenir book may be reprinted in any form without the written consent of the Festival of Arts with the Disabled.

!Hffil6l#W fiifm~liti~ Arts are for everyone