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05.2009 VOL 5 專題 FEATURE 02 演藝觀眾超越100萬人次 檢閱公帑資助表演藝團狀況

Performance Attendance Topping 1,000,000


A review of government-funded performing groups

特稿 SPECIAL REPORT 22 我們需要一個怎樣的藝術村 The Artists Village that We Need 26 重塑香港:建築如文化 Remaking Hong Kong: Architecture as culture 28 第四屆鮮浪潮短片競賽 The 4th Fresh Wave Short Film Competition




藝發局快訊 ADC EXPRESS 31 我與敦煌 — 饒宗頤敦煌學藝展 Dunhuang and I: Exhibition on Painting and Calligraphy of Jao Tsung-i 32 藝術行政及管理課程 Arts Administration and Management Training Courses 32 回到未來/紅白藍系列 Back to the Future / Redwhiteblue Series 33 匯藝坊 Arts Mart 33 校園藝術大使計劃 Arts Ambassador-in-School Scheme 附錄 APPENDIX 34 主導性計劃及計劃資助一覽 Proactive Project and Project Grant List



32 33 香港藝術發展局 香港英皇道979號太古坊和域大廈東翼14樓 電話:2827 8786 傳真:2519 9301 電郵 網址 設計顧問:黃炳培(又一山人)八萬四千溝通事務所 設計:Speedy Design Communications Limited 編輯組:香港藝術發展局藝術推廣及外事部 《藝萃》是香港藝術發展局出版之刊物,版權所有,欲轉載本刊物文章必須先得本局同意。 Hong Kong Arts Development Council 14/F, East Warwick House, Taikoo Place, 979 King’s Road, Hong Kong Tel: 2827 8786 Fax: 2519 9301 E-mail: URL: Design Consultant: Stanley Wong (anothermountainman) 84000communications Design: Speedy Design Communications Limited Editorial: Arts Promotion and Corporate Affairs Department, Hong Kong Arts Development Council. Copyright by Hong Kong Arts Development Council. All rights reserved. No part of this publication may be reproduced or transmitted in any means without permission of the publisher.

專輯 Feature





Performance Attendance Topping 1,000,000 A Review of Government-funded Performing Groups

artnews vol 5

02 / 03

本刊上期專輯觀察了獲政府資助戲劇團體在過去8年的發 展概況。今期將累積舞蹈界及音樂界的數字,檢視由公帑資 助的表演藝團 #在1999 / 00年度至2006 / 07年度的狀況。 Following a review in the last issue of local theatre companies, we now continue to track the development of government-funded performing groups# between 1999 / 00 and 2006 / 07, based on the data we have gathered on the dance and music sectors. 收集範圍鎖定於1999/00年度至2006/07年度,這段時間藝術界面對了不少變動:1999年底兩個市政 局解散、2000年文化委員會成立,而隸屬於市政局的三大藝團(香港舞蹈團、香港中樂團及香港話 劇團)於2001年開始進行公司化。1999年藝發局的資助制度進行了一次變革,推出了「三年資助」 及「一年資助」來代替「通常性經費資助」,同時要求藝團成立董事會接受監察,使組織的發展邁向 穩健1 。種種因素,都對業界發展帶來一定影響,而這些影響又帶來哪些啟示,這是最值得留意的。 1. 7A班戲劇組《大笑喪》 The Big Happy Dying, 7A Drama Group


2. 動藝《支離破碎》 Asunder, DanceArt

我們亦調整了不同界別在演出的記錄及歸納方法,以一致的量度基準來統計3 。

3. 香港歌劇協會《茶花女》 La Traviata, Opera Hong Kong 4. 多空間《呼吸II現象2007》 Air and Breath II – Phenomenon 2007, Y-space

7. 香港小交響樂團《士兵的故事》 Stravinsky – A Soldier’s Story, Hong Kong Sinfonietta 8. 香港小交響樂團《古典音樂速成 — 樂團指揮睇真D》 Shortcut to Classical Music: Story of the Conductor, Hong Kong Sinfonietta


1999 saw the restructuring of the Hong Kong Arts Development Council’s (ADC) funding system. The “Three-Year Grant” and “One-Year Grant” introduced in place of the “General Support Grant” required the grantee to set up a board of directors accountable to the ADC to ensure transparency and integrity1. These changes have had a major impact on the development of the arts. The insights that can be drawn from the observations are particularly noteworthy. Some government-funded performing groups have not disclosed quantitative data about their performances in 1999/00 – 2001/02. As a result, calculations can only be based on assumed data2 sectors, adjustment has been made for the different ways of recording performances so as to arrive at a consistent basis for measurement3.

5 7

and Regional Councils, followed by the establishment of the Culture and Heritage Commission in 2000.

obtained from alternative sources. In collecting the quantitative data of the theatre, music and dance


8 6

witnessed a multitude of changes. The year 1999 closed with the dissolution of the Provisional Urban

Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Repertory Theatre). The year

6. 影話戲「奇幻都市」系列4之《獨坐 婚姻介紹所》 Waiting for the Match, Cinematic Theatre


The scope of our research covers the period 1999/00 – 2006/07, during which the arts community

In 2001, we saw the corporatisation of the three leading theatre companies under the Urban Council (the

5. 香港歌劇協會《杜蘭朵》 Turandot, Opera Hong Kong


所以是次研究只能從其他途徑以假設數字計算 2。累積戲劇、音樂及舞蹈三個界別的量化資料時,

# 獲公帑資助團體包括由政府直接資助的四大藝團(如香港舞蹈團),以及由藝發局資助的「一年資助」藝團(如香港歌劇協會)及「三年資助」 藝團(如香港小交響樂團)。團體名單詳列於「資料說明」部分(第19-21頁)。 Government-funded performing groups include the four leading performing groups, such as the Hong Kong Dance Company, which are directly funded by the government, and the “One-Year Grant” performing groups (such as Opera Hong Kong) and “Three-Year Grant” performing groups (such as Hong Kong Sinfonietta) funded by the ADC. List of government-funded performing groups are listed in “Data descriptions” (P19-21).

專輯 Feature

香港小交響樂團與詹瑞文合作的《音樂詞彙笑療法》 Stand Up Symphony - A Shortcut to Classical Music, Hong Kong Sinfonietta in collaboration with Jim Chim

是次累積戲劇、音樂及舞蹈三個界別的資料時,有以下的觀察: The following observations were made in the information gathering process:

表演藝團之間的合作 演出增加 估計票房接近8千萬 Box office receipts estimated at HK$80 million

2006/07年度觀眾人次 接近116萬 Performances attended by almost 1.16 million audience members in 2006/07

本地舞蹈的活躍程度偏低, 但不遜於其他城市 Local dance less active, but no less than their counterparts in other cities

Growing collaborative performances between performing groups

藝團逐漸擴大收入來源 Source of income for arts organisations gradually broadens

經濟不景時,非演藝場地的 演出支撐藝團運作 Operation of arts organisations supported by non-venue performances during economic downturns

音樂團體的演藝場地觀 眾增兩倍 Attendance at venue performances by music organisations double

artnews vol 5

04 / 05

觀察結果 Observation Outcomes 觀眾人次近116萬 表一顯示,1999/00年度獲公帑資助的21個表演藝團接觸觀眾逾97萬人次(進行了逾 1,900場不同的本地演出) 。直至2006/07年度,23個獲公帑資助的表演藝團接觸觀眾

近116萬人次(進行了逾2,400場不同的本地演出),當中約半數為教育及推廣演出的 觀眾,而演藝場地觀眾人次佔本地觀眾總數約46%。若調整獲資助藝團數目不同之影 響後,2006/07年度的演藝場地觀眾人次是1999/00年度的淨1.31倍(而演藝場地的演 出場次為1.28倍)。 動藝《支離破碎》 Asunder, DanceArt

Almost 1.16 million audience members in 2006/07

Table 1 shows that 21 government-funded performing groups captured an audience of over 970,000 (with over 1,900 local performances) in 1999/00, and 23 government-funded performing groups almost reached 1.16 million audience members (with over 2,400 local performances) in 2006/07. Educational and promotional performances accounted for about half of the audience figures and the venue attendance accounted for 46% of the total local audience. Adjusted for the varying number of subsidised arts organisations, the venue attendance in 2006/07 was 1.31 times (net) that in 1999/00, while the number of venue performances was 1.28 times that in 1999/00.

表一:1999/00年度與2006/07年度之比較 Table 1: Comparisons between 1999/00 and 2006/07 1999/00年度#

演出類別▲ Performance type 演出場次 Number of performances 觀眾人次 Attendance 資助額* Funding received* 資助團體數目 Number of government-funded organisations

演藝場地演出 Venue performances

教育及推廣演出 Educational and promotional performances






特約及其他演出 Commissioned and other performances

小計 Sub-total

演藝場地演出 Venue performances

教育及推廣演出 Educational and promotional performances

特約及其他演出 Commissioned and other performances

小計 Sub-total

















# 演出場次及觀眾人次的數字包括香港舞蹈團、香港中樂團及香港管弦樂團的估算數字。 ▲ 演出類別之界定詳列於「資料說明」部分(第20頁,k-m項)。 * 資助額只計算由康文署及藝發局每年資助藝團的恆常金額,1999/00年度數字包括了香港話劇團、香港舞蹈團、香港中樂團及香港管弦樂團在該年度的估算金額。 #

The performances and attendance figures included estimates for Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra.

For classification of performances, please refer to “Data descriptions” (P20, items k-m).

* The funding received only includes the regular amount granted annually by Leisure and Cultural Services Department (LCSD) and ADC, and the data of 1999/00 include estimates for the Hong Kong Repertory Theatre, Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra during the year.

專輯 Feature

經濟不景時,非演藝場地演出支撐藝團運作 自 2000/01 年度開始,香港經濟開始放緩,至 2004/05 年度經濟才漸 有復甦跡象。這段時期內,獲公帑資助的表演藝團也受到影響。 2001/02 年度首次增加了一個獲公帑資助的表演藝團(見表四,第 20 頁),但從本地演出(包括於演藝場地演出、進行教育及推廣、

特約及其他之演出)而接觸的整體觀眾人次未有增加。 2002/03 年度 又再增添至23個表演藝團獲得公帑資助,但實際上整體觀眾人次卻淨 減少 2% 。 2003/04 年度獲公帑資助的表演藝團名單與上一個年度相 同,整體觀眾人次增加,其中一個原因是表演藝團增加了非演藝場地 演出(即教育及推廣、特約及其他演出)場次。 2004/05 年度獲公帑 資助的表演藝團減少了一個,雖然 22個表演藝團增加了演藝場地場次 及觀眾人次,卻未能增加整體的觀眾人次(逾 96萬),其中一個原因 是從特約及其他演出而接觸的觀眾人次淨減少了57%。(見圖一)

Operation of arts organisations supported by non-venue performances during economic downturns The local economy began to slow down in 2000/01 and did not pick up until 2004/05. Government-funded performing groups were negatively impacted by the economic conditions in this period. 2001/02 saw the first addition of a government-subsidised performing group (See Table 4, P20), but the total attendance at local performances (including venue performances as well as educational, promotional, commissioned and other performances) had not subsequently increased. In 2002/03, the number of performing groups increased to 23, but the total attendance decreased by 2% (net). In 2003/04, the list of performing groups remained the same as the previous year but the total attendance had increased, partly due to the staging of more non-venue performances (educational, promotional, commissioned and other performances). 2004/05 saw the departure of one government-funded performing group. Despite an increase in venue performances and attendance among 22 performing groups, the total attendance (at over 960,000) had not increased, partly due to a 57% drop in attendance at commissioned and other performances. (See Figure 1)

1 2

1. 動藝《蝴蝶效應》 Butterfly Effect, DanceArt 2. 多空間《呼吸II現象 – 2007》 Air and Breath II – Phenomenon 2007, Y-Space

artnews vol 5


06 / 07

圖一:獲公帑資助表演藝團接觸本地觀眾人次分布 Figure 1: Distribution of local audience members recorded by government-funded performing groups

1,258,376 110,185

39,005 (3%)

1,052,678 971,892




145,427 59,451

Ɂω Attendance



860,205 64,887

110,004 72,860



584,361 (51%)



20,369 500,000 426,505



536,481 (46%)


α۹ Year




















* 圖一標示的假設數字是根據《香港年報》資料估計香港舞蹈團、香港中樂團及香港管弦樂團接觸的觀眾人次。 * The assumed data illustrated in Figure 1 is estimated based on the attendance figures of the Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra as recorded in the Hong Kong Yearbook.

專輯 Feature

表演藝團之間的合作演出增加 根據資料顯示,從 2001/02 年度開始獲公帑資助的表演藝團多了互相合作的演藝場地演出,如: 2003/04 年度香港話劇團、香港舞蹈團及香港中樂團合作演出音樂劇《酸酸甜甜香港地》; 2004/05年度香港舞蹈團及演戲家族聯合製作演出《邊城》,且在 2006/07年度重演。圖二顯示, 2005/06年度就曾因合作演出而接觸超過54,000人次的紀錄(約佔演藝場地觀眾的12%)。此外,

獲公帑資助表演藝團在 2006/07 年度合作進行的特約及其他演出也創下最高紀錄( 23 場逾 3.2 萬人 次)。表演藝團之間的合作演出,或為其他機構製作演出節目,除了是創作人在表演藝術中多方面 探索和嘗試外,也可能是互相支持度過資源緊絀時期的一種方式。

Growing collaborative performances among performing groups It is statistically shown that the number of collaborative venue performances staged by governmentfunded performing groups had increased since 2001/02. Examples are the musical Sweet and Sour

Hong Kong jointly presented by the Hong Kong Repertory Theatre, the Hong Kong Dance Company and Hong Kong Chinese Orchestra in 2003/04 and the joint production The Border Town between the Hong Kong Dance Company and Actors’ Family, first staged in 2004/05 and re-run in 2006/07. Figure 2 shows attendance of 54,000 at collaborative performances (or about 12% of total venue attendance) in 2005/06. Government-funded performing groups also set records with their commissioned and other performances (23 performances with 32,000 audience members) in 2006/07. Collaborative performances between performing groups or performance programmes produced for other organisations may have become a means to help each other overcome the problems of funding shortage while opening up new opportunities for artistic pursuit and experiment.

香港小交響樂團與恭碩良於07年香港藝術節 首演駐團藝術家伍卓賢的《飛》 World premiere of Ng Cheuk-yin’s Fly by Hong Kong Sinfonietta and rock drummer Jun Lung at HK Arts Festival 07

artnews vol 5

08 / 09

圖二: 獲公帑資助表演藝團之合作演出(演藝場地演出) Figure 2: Collaborative performances (venue performances) of government-subsidised performing groups



45,000 70


61 60 55



45 54,048





20,000 38,275



15,000 25,270

20 10,000 10 10

5,000 2,857 α۹ Year











௿ω Performances

Ɂω Attendance



專輯 Feature

音樂團體的演藝場地觀眾增兩倍 圖三顯示,獲公帑資助的音樂團體在過去8年間接觸的演藝場地觀眾人次,均較戲劇團體及舞蹈團體 多。若調整每個界別獲資助的表演藝團數目不同之影響後,音樂團體的演藝場地觀眾人次淨增幅亦 是最多。 相對於1999/00年度而言,2006/07年度戲劇團體在演藝場地的演出場次淨增幅是8年前的1.32倍,而 接觸的演藝場地觀眾人次是1.7倍。舞蹈團體的演藝場地演出場次淨增幅是8年前的1.54倍,而接觸的 演藝場地觀眾人次是1.45倍。至於音樂團體,1999/00年度其中一個獲資助的音樂團體並非以演出為 主,而是集中教育培訓工作,若刪除這項因素,2006/07年度音樂團體於演藝場地之演出場次淨增幅 應是8年前的1.66倍,而演藝場地觀眾人次的淨增幅是2.72倍。



1. 香港歌劇協會《阿伊達》 Aida, Opera Hong Kong 2. 多空間《冇關係2005》 None of Your Business 2005, Y-Space

Attendance at venue performances by music organisations double Figure 3 shows more venue audience captured by government-funded music organisations than by theatre and dance organisations in the past eight years. Adjusted for the varying number of subsidised performing groups in each sector, the music sector was the leader seeing the most significant net increase in attendance. The number of venue performances of theatre groups in 2006/07 increased 1.32 times as compared with 1999/00 and venue attendance grew 1.7 times. Dance organisations registered, respectively, comparative net growth of 1.54 and 1.45 times. In 1999/00, a government-funded music organisation focused its efforts on educational training instead of performances. Excluding this factor, the number of venue performances of music organisations in 2006/07 increased by 1.66 times as compared with eight years ago, while venue attendance increased by 2.72 times.

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圖三: 三個界別之演藝場地觀眾人次分布 Figure 3: Distribution of venue attendance among three sectors




418,935 382,515


214,758 (40%)



Ɂω Attendance


176,622 157,106



147,880 192,144

76,380 (14%)

160,674 57,593

105,379 53,828 63,197


200,000 52,740




208,001 180,838 134,384

α۹ Year

1999/00 Ꮋჱ 7KHDWUH

179,769 128,478


245,343 (46%)

2001/02 ၦᑰ 'DQFH




ࠑᅥ 0XVLF





專輯 Feature 舞蹈團體的活躍程度偏低,但不遜於其他城市 過去8年,戲劇團體進行本地的演出場次較其餘兩個團體多(見圖四)。雖然獲公帑資助的舞蹈團體 數目與音樂團體接近,但舞蹈團體進行本地的演出場次較音樂團體少,接觸的觀眾人次亦較少。然 而,若參考其他城市的舞蹈團體,他們的演出場次及接觸人次較戲劇及音樂團體偏低的情況並非特 殊例子。而本港獲得公帑資助舞蹈團體的活躍程度毫不遜色(見表二及三)。 城市與城市比較時,當然由於社會文化環境、政府制定的藝術政策與支持度、市民的文化素養、城 市人口數量及結構等因素,再加上統計分類、收集過程和範圍不盡相同,並不能就此而作出結論, 只能作為一種參考。

圖四: 三個界別之本地演出場次分布 Figure 4: Distribution of local performances among three sectors 3,000

2,500 2,138 1,983


1,916 2,000


௿ω Number


335 275




344 204



404 (17%)


274 (11%)
















1,767 (72%)









α۹ Year



ၦᑰ 'DQFH

ࠑᅥ 0XVLF


artnews vol 5

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Local dance groups less active, but no less than their counterparts in other cities Over the past eight years, theatre groups have staged more local performances than the other sectors (See Figure 4). Although their number is about the same as that of music organisations, government-subsidised dance organisations have staged fewer local performances resulting in lower attendance levels. However, by referring to the situation in other cities, we can see that this lower level of activity among the local dance organisations is nothing out of the ordinary. Government-funded dance organisations have been no less active than their overseas counterparts (See Tables 2 & 3). By no means conclusive, this observation can only serve as a reference, due to the differences in social and cultural backgrounds, arts policy and government support, cultural literacy, population size and demographic structure, not to mention the differences in terms of statistical classification, information gathering and coverage among the cities surveyed.

表二:台北市2004年的戲劇、舞蹈及音樂活動場次及出席人次 Table 2: Performance and attendance figures of theatre, dance and music sectors in Taipei in 2004 活動場次 EldY\if] g\i]fidXeZ\j

活動場次(%) G\iZ\ekX^\f]kfkXceldY\i 

全年總出席人次 KfkXcXeelXc Xkk\e[XeZ\

全年總出席人次(%) G\iZ\ekX^\f]kfkXc XeelXcXkk\e[XeZ\









音樂6 Dlj`Z6





總數 KfkXc





戲劇4 K_\Xki\4 舞蹈5 ;XeZ\5

資料來源:台灣行政院文化建設委員會最新一期《)''+年文化統計資料》 JfliZ\1K_\cXk\jk`jjl\f]:lckliXcJkXk`jk`Zj)''+ f]k_\:fleZ`c]fi:lckliXc8]]X`ij#<o\Zlk`m\Pl\e#KX`nXe

表三:新加坡2007年的戲劇、舞蹈及音樂活動場次及出席人次 Table 3: Performance and attendance figures of theatre, dance and music sectors in Singapore in 2007 售票演出場次(場) Number of paid performances

戲劇7 Theatre7 舞蹈8 Dance8 音樂9 Music9 總數 Total

售票演出場次(%) Percentage of total paid performances (%)

全年憑票入場之總人次 Total annual paid attendance

全年憑票入場之總人次(%) Percentage of total annual paid attendance (%)

















資料來源:新加坡National Arts Council最新出版的《新加坡文化統計》報告 Source: The latest Singapore Culture Statistics issued by the National Arts Council, Singapore

(小數點四捨五入後之總和可能略有出入) (All figures are rounded off)

專輯 Feature

藝團逐漸擴大收入來源 從資料顯示,獲公帑資助表演藝團的基本營運經費佔藝團總收入比例一直下降, 1999/00 年度獲藝發局年度資助及康文署年度資助的收入佔去 21 個表演藝團的總收

入 71% ,至 2006/07 年度 23 個表演藝團的總收入佔 50% 。表演藝團的演出收益, 佔總收入的比例由 1999/00 年度的 21% 增至 33% 。演出收益包括票房收入及節目贊 助收益,而節目贊助收益也有部分來自政府(以贊助形式支持製作)。至於其他 收益(包括個人/機構之捐款、學費/會員費、產品銷售等)佔表演藝團總收入的比 例,亦由 1999/00 年度的 8% 增至 2006/07 年度的 17% ,特別當香港經濟復甦後, 藝團的其他收益升幅較明顯,反映藝團逐漸擴大收入來源。(見圖五)

Source of income for arts organisations broadens Statistics indicate that the basic operating costs as a percentage of total revenue of government-funded performing groups had shown a steady decline. ADC and LCSD funding accounted for 71% of the total revenues of the 21 performing groups in 1999/00 and 50% of the total revenues of the 23 performing groups in 2006/07. The income from performances as a percentage of total revenues increased to 33% from 21% in 1999/00. This source of income included box office receipts and programme sponsorship, part of which came from government in support of production. Other income (including personal/ institutional donations, tuition/membership fees, and income from product sales) as a percentage of total revenues increased from 8% in 1999/00 to 17% in 2006/07. It showed significant growth especially after the local economy recovered, reflecting an expanding base of revenue. (See Figure 5)

1 2 1. 劇場空間《阿媽話……》 My Mother Said I Never Should, Theatre Space 2. 香港城市室樂團與豎琴師Catrin Finch及指揮Jean Thorel之表演 City Chamber Orchestra of Hong Kong performs with royal harpist Catrin Finch and chief conductor Jean Thorel

artnews vol 5


圖五:1999/00年度及2006/07年度收入來源比較 Figure 5: Comparison of annual revenues in 1999/00 and 2006/07 4.147



ಋྫྷ ˞ኙʏ߮ HK$ (in 100 million)

3.249 3.000

2.500 2.323 2.056 2.000



1.000 0.712


0.500 0.252






* 公帑資助額只計算由康文署及藝發局每年資助藝團的恆常金額 # 1999/00年度數字包括了香港話劇團、香港舞蹈團、香港中樂團及香港管弦樂團在該年度的估算金額。 * Government funding only includes the regular amount granted annually by LCSD and ADC # The data of 1999/00 includes estimates for the Hong Kong Repertory Theatre, Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra in the year.

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專輯 Feature



1. 多空間《冇關係2005》 None of Your Business 2005, Y-Space 2. 香港歌劇協會《卡洛王子》 Don Carlo, Opera Hong Kong


Box office receipts close to HK$80 million


Box office receipts were not shown separately in the music groups’ income


statements. Only the income from performances, including performance


fees and programme sponsorship, was given. As a result, we could not


identify the box office receipts when trying to work out the income distribution among the three sectors and had to use estimates as follows.

城市電腦售票網是香港主要的票務系統,從康文署的資 料顯示,2006/07年度通過城市電腦售票網售出的門票

URBTIX is the leading ticketing system in Hong Kong. LCSD data indicates


that about 4,331,000 tickets were sold through URBTIX in 2006/07,


grossing HK$645 million, averaging about HK$149 per ticket. No data


for reference is available from HK Ticketing System, so a rough estimate

不考慮演藝場地觀眾中憑贈票入場的比例, 2006/07年

is made based on the URBTIX figures. Moreover, excluding the share of


free attendance in total venue attendance, a total audience of 530,000


of the 23 subsidised performing groups in 2006/07 may have generated HK$79.94 million in box office receipts.

多空間《香港船與島的故事2004》 The Story of Island and Boat Hong Kong 2004, Y-Space

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16 / 17

從觀察帶出的啟示 Insights drawn from observations 觀眾可超越116萬人次?

Can attendance exceed 1,160,000?


Based on the data collected, different forms of performance are conducive


to expanding audience base. In 2006/07, 23 government-funded performing

2,400 場不同的本地演出,從演藝場地演出而接觸觀眾

groups held more than 2,400 different local performances, at which venue


attendance topped 530,000. Educational and promotional performances

特約及其他演出接觸觀眾逾 3.9 萬人次,全年觀眾接近

netted a total attendance of over 580,000, while commissioned and other


performances reached 39,000 audience members. The total attendance


was close to 1.16 million in the year. In the future, the audience base is

經濟不景可拓展觀眾? 根據過往記錄,經濟不景氣時期進行的教育及推廣演出

expected to grow with the community audience building plan launched by the government after the development of West Kowloon Cultural District.


Are bad times a good opportunity to build audienceship?


According to historical information, more educational, promotional,


commissioned and other performances have been held during economic


downturns attracting more audience members, reflecting continued


public interest in arts programmes despite a tendency to cut back on


spending. This shows that there may be a good opportunity for arts


groups to produce educational and promotional performances appealing


to the public to cultivate a greater artistic interest at bad times, so some



of these audience members may be attracted to pay to enjoy a show when the economy turns around. Given the difficulty in securing additional

整體來看,戲劇、舞蹈及音樂團體在 2004/05 年度至

resources to produce educational and promotional performances during


economic recession, could the government consider setting up a special


grant to cultivate a broader audience base in preparation for the future


West Kowloon Cultural District?

術涵養?既然表演藝團之間的合作演出逐漸增多,接觸 的觀眾人次也有增加,究竟跨界別的合作如���能發揮最

Can a cross-sector audienceship be developed?


The total attendance at the venue performances staged by the theatre,


dance and music groups witnessed a continued rise between 2004/05 and 2006/07. But how many members of this broadened audienceship have become drawn to arts performances by a desire to broaden their artistic experience and exposure? With the growing numbers of collaborative performances and audience members, how to make the most of cross-sector collaboration to broaden access to different forms of art and increase paid audience is an issue that warrants attention and discussion.

專輯 Feature

結語 Conclusion 如何反映藝文的重要性? 藝發局整理過去獲公帑資助藝團的資料,目的並非從量化數字來衡量藝團的工作成效,而是希望作 為本地藝文界發展的一項記錄,觀察文化藝術生態發展的一項參考基礎。 目前單以藝團的收支、演出節目的場次和入場人次、非演出節目活動的數量及參加者的數目,並未 能全面顯示文化藝術行業的生態為社會帶來的價值效益,以反映文化藝術對一個城市在經濟價值、 文化價值和公共價值的重要性。而相對於歐美和一些亞洲國家,本港單是在界定和確認與藝文相關 行業的範圍,以及行業和職業代碼的分類仍未有任何進展,要全面顯示文化藝術生態發展(包括在 創作、人力資源、教育、市民生活質素等方面)對本港帶來的價值效益,令市民及政策制定者跳出 單以經濟價值衡功量值的思維,實在仍有一段距離,需要藝文界更多的參與和討論,提供一套更有 效反映整個界別對本港各方面發展的記錄方法。 至於從量化資料的種種觀察而引發的討論,以推動業界發展,實有賴各機構組織、藝文從業者共同 參與,共謀對策,向政策制定者如實反映和建議。

How to bring out the importance of arts and culture? By compiling historical information on government-funded arts organisations, we do not intend to evaluate the effectiveness of these arts groups through the quantitative data, but rather to record the growth of the local arts community as a reference point for observing the ecology of local arts and culture. By simply looking at the income and expenditure, performance and attendance figures of the arts groups as well as the numbers of non-performance programmes and participants involved, we cannot see the full picture of the social value of the arts and cultural industry, let alone its importance to a city in terms of economic, cultural and public benefits. Compared with its counterparts in the US, Europe and even Asia, Hong Kong has yet to make progress in defining and recognising the scope of arts-related industries and the coding of individual artistic trades and occupations. To enable the public and policy-makers to think out of the “value for money” box, much still needs to be done to fully bring out the value of arts and cultural development to Hong Kong, in terms of creative production, human resources, education and quality of life. More participation and discussion is required among members of the arts community to come up with a recording method to reflect more effectively the impact of arts development on different areas of local life. With the discussion sparked by observations based on the quantitative data, we count on wider participation by all arts groups and practitioners to provide honest inputs and recommendations to policy-makers for the benefit of industry growth.

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18 / 19

資料說明 Data descriptions 數據分別來自以下途徑:

The data used in this report was obtained from the following sources:

a. 獲香港藝術發展局年度資助之戲劇、舞蹈及音樂團體,均

a. Statistics of the theatre, dance and music organisations funded by the Hong Kong Arts Development Council were taken from their Annual Final Reports and Audited Reports submitted each year.

根據其每年提交之終期報告及核數報告的資料計算。 b. 獲康樂及文化事務署年度資助之香港話劇團、香港舞蹈

b. Statistics of the Hong Kong Repertory Theatre, Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra funded by LCSD were taken from their Annual Reports. Individual items not made available were estimated based on figures in the Hong Kong Yearbook.


c. 表四列出自1999/00年度至2006/07年度每年獲公帑資助

For the diagrams and tables, please note the following:

團、香港中樂團及香港管弦樂團,均根據其年報的資料計 算。個別未能提供的資料則以《香港年報》的數字作估 算。

的藝團數目。表五則以獲得不同資助形式列明藝團數目。 d. 1999年至2007年間均有不同團體進出藝發局「一年資

助」及「三年資助」計劃,當中的資助期亦有不同的計 算。1999/00年度的「一年資助」資助期由4月1日至翌年 3月31日止,2000/01年度資助期由4月1日至翌年6月30日 止,2001/02年度起由7月1日至翌年6月30日計算。「三 年資助」藝團的資助期由每年4月1日至翌年3月31日止。 e. 獲藝發局「一年資助」的團體包括:非常林奕華、前進

進戲劇工作坊、進劇場、新域劇團、演戲家族及劇場空 間,這6個劇團於過去8年並沒有改變資助形式。至於進 出「一年資助」計劃的藝團則包括:赫墾坊(資助期為 1999/00年度至2001/02年度止)、無人地帶(資助期為 1999/00年度至2003/04年度止)、大細路劇團(資助期 由2001/02年度起)、7A班戲劇組及劇場工作室(資助 期均由2002/03年度起)、多空間(資助期為1999/00年 度)、動藝(資助期由2000/01年度起)、香港童聲合 唱協會(資助期由1999/00年度至2003/04年度)、香港 城市室樂團(資助期由2004/05年度起)、香港歌劇協 會(資助期均由2005/06年度起)。 f. 一直獲「三年資助」的藝團共有5個,分別為中英劇團、

進念二十面體、城市當代舞蹈團、香港芭蕾舞團及香港 小交響樂團。另外,過去8年進出「三年資助」計劃的藝 團包括明日藝術教育機構(1999/00年度至2001/02年度 止)及劇場組合(資助期由2002/03年度起)。由於劇場 組合於2002年4月起進入「三年資助」計劃,2001/02年 度的「一年資助」期為2001年7月至2002年3月。 g. 香港話劇團、香港舞蹈團、香港中樂團及香港管弦樂

團自1999/00年度至2006/07年度止由康文署直接資 助,年度報告及財務報告由每年4月1日至翌年3月31日 計算。前述的三個藝團只能提供2001/02年度及以後 之 年 報 , 而 香 港 管 弦 樂 團 只 能 提 供 20 0 3/0 4 年 度 、 2005/06年度及2006/07年度之年報。除香港話劇團 直接提供1999/00及2000/01年度之演出數字外,其 餘未能提供財務數字及演出數字的藝團均按該藝團在

c. Table 4 lists the number of government-funded arts organisations from 1999/00 to 2006/07. Table 5 lists the number of arts organisations by funding type. d. The period from 1999 to 2007 saw organisations moving in and out of the ADC’s “One-Year Grant” and “Three-Year Grant”, with different calculations applied to the grant periods. The period of “One-Year Grant” for 1999/00 was from 1 April to 31 March of the following year. For 2000/01, it was from 1 April to 30 June of the following year, and for 2001/02, from 1 July to 30 June of the following year. The period of “Three-Year Grant” was from 1 April to 31 March of the following year. e. The ADC’s “One-Year Grant” recipients are Edward Lam Dance Theatre, On & On Theatre Workshop, Theatre Du Pif, Prospects Theatre Company, Actors’ Family and Theatre Space. The funding type for these six groups has not changed in the past eight years. Arts organisations moving in and out of the “One-Year Grant” are Exploration Theatre (the grant period from 1999/00 to 2001/02), No Man’s Land (the grant period from 1999/00 to 2003/04), Jumbo Kids Theatre (the grant period from 2001/02), 7A Drama Group (the grant period from 2002/03), Y-Space (the grant period in 1999/00), DanceArt (the grant period from 2000/01), Hong Kong Treble Choirs’ Association (the grant period from 1999/00 to 2003/04), City Chamber Orchestra of Hong Kong (the grant period from 2004/05), Opera Hong Kong Limited (the grant period from 2005/06). f. Five arts organisations have continued to enjoy the “Three-Year Grant”, namely: Chung Ying Theatre Company, Zuni Icosahedrom, City Contemporary Dance Company, Hong Kong Ballet and Hong Kong Sinfonietta. In the past eight years, arts organisations moving in and out of the “Three-Year Grant” are Ming Ri Institute for Arts Education (the grant period from 1999/00 to 2001/02) and Theatre Ensemble (the grant period from 2002/03). As Theatre Ensemble joined the “Three-Year Grant” from April 2002, the period of a “One-Year Grant” for 2001/02 was from July 2001 to March 2002. g. The Hong Kong Repertory Theatre, Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra were directly funded by LCSD from 1999/00 to 2006/07, and their annual reports and financial statements cover the period from 1 April to 31 March of the following year. The first three arts organisations afore-mentioned could only provide their annual reports for the periods after 2001/02, and the Hong Kong Philharmonic Orchestra could only provide its annual reports for 2003/04, 2005/06 and 2006/07. While performance data has been

專輯 Feature 其他年度的年報數字作出估算。 h. 各界別的藝團合作演出/活動將按主辦單位呈報之資料為

準,重複申報的節目/活動數字已扣減。 i. 除非另作說明,調整了獲資助劇團數目不同之影響後的增

減幅度均為「淨增加」或「淨減少」。 j. 小數點四捨五入後之總和可能略有出入。 k.「 演藝場地的演出」指在正規劇院/音樂廳/演奏廳內之

演出。 l.「教育及推廣演出」指社區及教育演出。社區演出指在正

規劇院/音樂廳/演奏廳以外的場地設施內(如社區場所、 屋村、公園、街道和商場等)之演出節目,一般帶有推 廣/外展成分。教育演出指在學校內進行的演出節目(如 學校巡迴演出),或於任何場地由教育機構籌辦之演出 節目,而節目註明屬教育性質,如藝術課程學員結業演 出/匯演等。 m.「特約及其他演出」指藝團/藝術工作者以表演嘉賓身份客

串/參與/進行由其他機構/團體籌辦之製作演出,如晚會/ 開幕禮/酒會/慶典之演出節目。 參考資料: n. National Arts Council, 2008.“Singapore Cultural Statistics

2003-2007”. o. Arts Council England, 2004.“The Arts in London: useful

facts”. p. 台灣行政院文化建設委員會,《93年藝文活動統計》。

directly provided by the Hong Kong Repertory Theatre for 1999/00 and 2000/01, financial and performance data has not been made available by the other arts organisations and as a result, estimates have been used based on figures in annual reports for other years. h. Information on collaborative performances and activities submitted by the organisers cannot be modified. Precautions have been taken to eliminate double counting. i. All percentages for comparison are expressed in the form of “net increase” or “net decrease” with adjustments made for the varying number of grant recipients each year except otherwise stated. j. All figures are rounded off. k. “Venue performances” refer to performances held in formal theatres/ concert halls/recital halls. l. “Educational and promotional performances” refer to “community and educational performances”. “Community performances” refer to promotional/outreach programmes held in community spaces, housing estates, parks, streets and shopping malls outside formal theatres/concert halls/recital halls. Educational performances refer to programmes held in school (e.g. school touring performances), or programmes sponsored by education institutions on any venue. The programmes are educational by nature, such as graduation shows/joint performances by art students, etc. m. “Commissioned and other performances” refer to performances organised by other institutions/organisations in which the arts organisations/arts practitioners make an appearance/participate in/conduct the proceedings as guest performers. Examples are evening galas/opening ceremonies/ banquets/celebrations. References: n. National Arts Council, 2008. “Singapore Cultural Statistics 2003-2007”. o. Arts Council England, 2004. “The Arts in London: useful facts”. p. Statistics of Artistic and Cultural Activities in 1993, the Council for Cultural Affairs, Executive Yuen, Taiwan

表四:每年獲公帑資助的藝團數目 Table 4: Number of arts organisations receiving government funding each year 年度 Year 獲公帑資助的藝 團數目(個) Number of governmentfunded arts organisations









戲劇 Theatre









舞蹈 Dance









音樂 Music









合計 Total









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artnews vol 5

表五:不同資助形式的藝團數目 Table 5: Number of arts organisations by funding type 年度 Year 不同資助形式的 藝團數目(個) Number of arts organisations with different funding types









一年資助 One-Year Grant









三年資助 Three-Year Grant









康文署年度資助 Annual funding from LCSD









合計 Total









註釋 Footnotes 1.



「三年資助」是協助較成熟的藝團獲得較長期的資助,以便藝團可訂下長遠的發 展目標和策略;而新進的、半專業的藝團則可申請「一年資助」,獲得在創 作、表演和藝術教育方面發展的協助。


假設的數字乃根據《香港年報》記錄香港舞蹈團、香港中樂團及香港管弦樂團 接觸的觀眾人次而估計。《香港年報》列明的資料只是一年內部分演出的數量 或觀眾人次,即由1月至12月份的數字,並非以財政年度計算。

The “Three-Year Grant” is to support the continuing professional growth of distinguished professional arts organisations in reaching the goals and targets set out in their long-term development plans. The objective of the “One-Year Grant” is to provide strategic support to fledgling, semi-professional arts organisations in developing their repertoire and their work in arts education.


上期界定的「劇場演出」包括於演藝場地內進行的公開演出、專場演出、特約 及其他演出。是次統計獲公帑資助的音樂及舞蹈團體,他們於演藝場地內的部 分演出,多以伴奏或表演嘉賓身份參與,如晚會、慶典、開幕禮等表演節目之 其中一個演出環節,這些團體在其年報內亦特別註明參與上述演出的機會,故 是次累積三個界別的數據時特別將這些特約演出分拆出來統計,把表演藝團的 所有演出分類為「演藝場地演出」、「教育及推廣演出」、「特約及其他演 出」及「海外演出」。

The assumed data is estimated based on the attendance numbers of the Hong Kong Dance Company, Hong Kong Chinese Orchestra and Hong Kong Philharmonic Orchestra as reported in the Hong Kong Yearbook. The yearbook captures data for the period January-December instead of on a financial year basis, and does not fully reflects the numbers of performances or audience members within a year.


“Theatre Performances” as defined in the last issue cover public, special, commissioned and other performances on performance venues. Statistics under this study refer to performances by government-subsidised music and dance organisations, mostly in a supportive role or as performing guests, which form part of a larger event, such as an evening gala, a celebration or an opening ceremony. Such commissioned performances, singled out in the organisations’ annual reports, are separately accounted for and all performances classified into “Venue Performances”, “Educational and Promotional Performances”, “Commissioned and Other Performances” and “Overseas Performances”.


Theatre activities in Taiwan include traditional operas (e.g. Taiwanese opera, Cantonese opera and traditional puppet shows), modern opera, foreign traditional opera, competitive and variety drama.


Dance activities in Taiwan include Chinese and Western folk dance, ballet, modern dance, competitive and variety dance activities.


Music activities in Taiwan include Chinese and Western concerts, pop music concerts, competitive and variety music activities.


Theatre activities in Singapore include traditional operas (Chinese opera and traditional Malaysian opera) and modern opera.


Dance activities in Singapore include folk dance, ballet, modern dance, social dance and pop dance (e.g. hip-hop).


Music activities in Singapore include Chinese and Western concerts, choirs and Malaysian folk music.


台灣的戲劇類活動包括:傳統戲劇(如歌仔戲、粵劇、傳統偶戲等)、現代戲 劇、外國傳統戲曲、比賽及綜合性戲劇活動。


台灣的舞蹈類活動包括:中西民族舞蹈、芭蕾舞、現代舞、比賽及綜合性舞蹈 活動。


台灣的音樂類活動包括:中西樂演奏會、流行音樂演唱會、比賽及綜合性音樂 活動。


新加坡的戲劇類活動包括:傳統戲劇(中國戲曲及馬來西亞傳統戲劇)及現代 戲劇。


新加坡的舞蹈類活動包括:民族舞蹈、芭蕾舞、現代舞、社交舞及流行舞蹈 (如hip-hop舞)。



特稿 Special Report



The Artists Village that We Need

近日,傳媒對賽馬會創意藝術中心使用率不 足、人流少,似乎未見成效的報導,引來文化藝術 界以至社會各界人士的熱烈回應,紛紛對「藝術 村」的定義、管理等發表意見,藝術村頓時成為媒 體上的熱門話題。 The Jockey Club Creative Arts Centre has recently been the subject of criticism and debate in the press. Reports about its low occupancy and traffic flows were greeted with a barrage of questions and comments from the arts circle and other sectors. The issue has, indeed, become the talk of the town from the very meaning and definition of “artists village” to its management and operation.

為了讓媒體及社會大眾對藝術村有更深入和全面的了解,藝發局 與《明報》「世紀版」於 2 月 13 日合辦「藝術村在香港的角色」座 談會,邀請進念二十面體行政總監胡恩威、香港藝術學院學術總 監何兆基及獨立策展人梁展峰主講,台下觀眾包括各個藝文界別 人士及本港藝術村的租戶等百多人。 To put the issue into perspective and offer insights in a thought-provoking discussion, the ADC teamed up with Ming Pao in the forum entitled “The Roles of Artists Village in Hong Kong” on 13 February. The panel of speakers included Mathias Woo, Executive Director of Zuni Icosahedron, Ho Siu-kee, Academic Head of the Hong Kong Art School and independent curator Jeff Leung. The session attracted an audience of more than 100 people, including individuals from the arts and cultural sector and tenants from various artists village. 攝影 photo: Ramond Richard

artnews vol 5

不同期望的承載 幾位講者都同意,「村」是人、時間和空間的組合。何兆基認為,藝 術村為藝術工作者提供工作空間、展示創作的機會,更甚者可以吸引 維持他們持續創作的買賣,以致帶動其他經濟活動出現。他說:「這 些活動性質不同,卻不相違背,互不矛盾。可是,要是所有活動同時 存在於同一空間,又以同一模式管理,那是否理想呢?」他解釋, 不同的活動各具不同性質,硬要把它們放在同一空間,並以「一站 式」/「綜合式」方式管理和營運,問題就逐漸浮現。 何兆基也指出,藝術村的出現也是一個自然的周期,但是也可在規劃 之下形成的,只是不同層面的活動對規劃的期望不同,當中良好的溝 通便非常重要,特別是在規劃開始前要各界好好溝通。

孕育創意的使命 胡恩威特別提出香港在城市規劃的問題。由於香港政府一向視文化藝 術為「興趣」,沒有商業價值,所以在城市規劃的藍圖裏,文化藝術 設施往往是被忽視的一項。他指出,藝術村是藝術家工作的地方,未 必一定需要產生經濟效益。他強調:「藝術的功能不是賺錢,而是豐 富人們的生活。藝術村或藝術工作者社群的功能,就是孕育藝術創 作,而不是製造經濟效益。」賺錢是經營藝術者的責任;藝術沒有 帶來金錢收益,原因是沒有好的藝術經營者,而非沒有好的藝術工作 者。可惜政府卻不清楚藝術工作的本質。 胡恩威認為,中介機構(如藝發局)可以發揮更大更積極作用。中介 機構應多了解不同範疇藝術工作者的需要和不同藝術界別的生態,以 及協助尋找資源互相配合。事實上,現時香港有許多資源未有被善 用,而這些資源形形色色,確可配合不同藝術界別對工作間的要求。

A Vessel for a Myriad of Expectations While presenting their own views, the speakers all agreed on one thing: a “village” is the sum of people, time and space. Ho Siu-kee saw the artists 上起: From top: 胡恩威、梁展峰 、何兆基 Mathias Woo, Jeff Leung, Ho Siu-kee

village as a space for creating and exhibiting new works as well as for the buying and selling of art, activities which sustain the commercial viability of the art space and beyond. “Despite their different natures, these activities are not mutually exclusive, nor are they contradictory,” he said, “but you do need to ask if it’s sensible to throw all of them under the same roof, and manage them as such.” He explained that problems often arise when activities of vastly different natures are packed into the same place and uniformly managed. Since the emergence of the artists village can have come into existence in the natural course of events, or it can also be the product of planning and design, communication often plays a key role in reconciling the varied expectations the different parties have, particularly during the initial stages of planning.

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特稿 Special Report


The Mission to Sow the Seeds


Mathias Woo highlighted problems with urban planning


in Hong Kong. Art and culture have long been relegated


by the government to the margins, as a side interest with no commercial value. As a result, arts and cultural


infrastructure are often left out from the blueprint for


urban development. But Woo stressed that the artists


village is a place for artistic creation, not for generating


business. “The purpose of art is to enrich our lives, not for


making money. Artists village or artists community should


serve only as a hotbed of artistic creation, its economic benefits notwithstanding,” Woo emphasised. It is the role


of the operator to make profit off art. And if art fails to


bring with it economic benefits, it is the arts operators who


are to blame, not the arts practitioners. The government clearly fails to grasp how the arts operation works.

場內亦有與會者提出,藝術村的人流是時段性的,即遇上節日活動或 展覽時,人流特別旺盛。因此,要是以人流多寡作藝術村成敗或效益

Woo also felt that intermediary bodies, such as the ADC,


should play a greater and more proactive role. There


should be an increased awareness and understanding of the needs and ecologies of different arts disciplines


so as to procure and match resources to priorities. The


fact that a lot of resources have not been fully exploited


suggests that more work has to be done to tap into the


array of resources available to meet with the demand for


art space.

契機可以繼續發展。藝發局隨着是次座談會得到的意見,以及繼續收 集數據和資料,加以整理,進行研究和分析,以促進計劃藝術村在香

A Space Devoted to Artistic Creation

港的未來發展。任何人士如有關於本地 / 海外藝術村的資料、研究文章

Jeff Leung pointed out that the newspaper reports reflected


a clash of expectations between different parties: the government has hopes for artists village to jump start the


creative industry; the artists view artists village as their private work space, and the general public treats them as marketplaces. These are varied expectations yet to be reconciled.

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前馬頭角牲畜檢疫站(牛棚)作為藝術村的未來 發展之研究 Future Development of Former Ma Tau Kok Quarantine Depot as Artist Village Cattle Depot Artist Village, artists village at Fotan and Chai as enclaves for artists in the territory. The best known of the

藝發局於2009年2月26日獲發展局文物保育專員辦事處委託,進行「前馬頭 角牲畜檢疫站(牛棚)作為藝術村的未來發展之研究」,為未來活化牛棚作 參考。

three, Fotan opens it doors to scores of visitors for its annual


open day, a remarkable achievement for a bunch of artists


Wan are among the industrial loft spaces that have emerged

with no formal organisation. Leung explained, “Consensus among artists is the key: artists will not and cannot shoulder the work of organising an open day.” The reason is simple: running the open day will distract them from their creative work. Luckily, with a group of volunteers taking charge of the event, the artists are afforded the much needed space and time for their work. This sentiment was shared by the artists in attendance, who added that worrying about the turnouts while working in the workshops will put extra pressure on the artists.

Expectations of the Intermediary Traffic and attendance of this kind, noted an attendee, were only temporary and mostly tied in with special programmes

術村運作模式、藝術村的特點分析、文物建築活化為藝術用途的例子以及香 港藝術村的歷史、背景、模式和觀察;第二部分「研究主體」包括牛棚藝術 村的歷史和背景、從不同角度深入研究牛棚藝術村的現況以及延續其作為藝 術村的優劣。 第二階段:第三部分「前瞻」包括建議未來牛棚藝術村的運作模式以及提議 路線圖,為現時與未來的運作模式作橋樑。 整個研究預計於年中完成。發展局將利用研究結果作為未來活化牛棚的參 考。局方會繼續與牛棚的持份者溝通和進行諮詢,推動社區參與,期望可以 達致一個平衡的活化模式。 The ADC was commissioned by the Commissioner for Heritage’s Office of the Development Bureau on 26 February 2009 to conduct a study on the feasibility of the continued operation of the former Cattle Depot as an artist village. The findings of the report will inform the steps being taken to revitalise and realise a community of working artists right at the heart of the city.

or exhibitions. To measure the success or effectiveness of

The study will be carried out in two phases:

the artists village by its attendance is to marginalise arts

Phase One comprises two components: Part One is a background research, which will outline the definitions and concepts associated with artist villages and historical buildings, analyse common business operational models and characteristics of artist villages alongside the history, background, modes of operations and insights into artist villages in Hong Kong. Examples of the conversion of historical buildings and sites into art space will be cited for purposes of illustration; Part Two, the “Case Study”, will delve into the background and history of the Cattle Depot Artist Village, discuss merits and limits of the continued use and development of the Cattle Depot as a community arts hub.

activities, which, unlike festival-like arts events, rarely pull in large crowds. Many expressed their wishes for the government and intermediaries to play a greater role in resource integration and the provision of art space, as well as conducting research into the environment conducive to art creation. As one of the strategic partners of the centre, Louis Yu said the ADC will continue to respond to the views and opinions of the arts community through various means. There is clearly a need for the artists village to continue to grow and the conditions are favourable. The suggestions and feedback gathered from this session will be studied and analysed in regard to the future development of artists village in Hong Kong. The ADC welcomes papers, studies, reports and such other works on local and overseas artists villages for our reference and research work. Please write to artistsvillage@

Part Three to be conducted during the second stage of the study will undertake a preliminary preview into the future of Cattle Depot, exploring issues such as the modes of operations, suggested roadmaps and roadmapping processes to facilitate a seamless transition into its envisioned future. The study is expected to be completed in mid-2009. Results will be useful to the Development Bureau in exploring revitalisation opportunities for the site. Embracing community participation, the Bureau will continue to engage in a two-way consultation process through free-flowing exchanges with current residents of Cattle Depot to bring together individual visions and plans in the project.

特稿 Special Report



Remaking Hong Kong :

Architecture as culture

2 1


4 3



9 8

1. RAD Ltd 陳喜漢、Paolo Dalla Tor、Alberto Cipriani、Ewelina Tereszczenko、 陳鳳賢、黃智勤《偶發都市主義——策略性都市重組》 Accidental Urbanism, Aaron Tan, Paolo Dalla Tor, Aberto Cipriani, Ewelina Tereszczenko, Catty Chan and Kenneth Wong from RAD Ltd

5. 嘉柏建築師事務所公司余嘯峰《繪跡/四川過渡安置房屋研究》 Tracing/Sichuan Intermediate Relief Housing, Frank Yu from Gravity Partnership Ltd 6. Joshua Bolchover、Peter Hasdell、Esther Lorenz、潘保傑《瞬刻烏托邦:開放禁區》 Utopia Now: Opening the Closed Area, Joshua Bolchover, Peter Hasdell, Esther Lorenz and Pokit Poon

2. 許焯權、香港文化影像工作室有限公司《重塑香港的脈絡》 Contextualising Remaking of Hong Kong, Desmond Hui and HK Cultural Imaging Workshop

7. 胡恩威《香港漫遊》 Hong Kong Odyssey, Mathias Woo

3. 黃國才《流浪家居與大鐵人11號》 Wandering Home & Tin Man No. 11, Kacey Wong

8. eskyiu邵達輝、姚嘉姍《都市田園:構織垂直景觀》 Urban-Pastoral: fabricating a vertical landscape, eskyiu: Eric Schuldenfrei and Marisa Yiu

4. 吳恩融《密度的潘朵拉盒子》 A Pandora’s Box of Density, Edward Ng

9. 杰森.卡羅、林君翰、Jonathan D Solomon、郭海龍《控制塔》 Control Tower, Jason Carlow, John Lin, Jonathan D Solomon and Stefan Krahofer

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香港建築師學會與藝發局攜手合作,於去年參加第十一屆威尼斯國際建築雙年展,向國際展示香港 建築藝術獨特的一面。展覽吸引接近33,000位來自世界各地的人士入場參觀,同時,更被英國《衞 報》選為威尼斯雙年展「十個不容錯過的展覽項目」。為了讓香港市民有機會欣賞到一系列由本地 建築師、設計師、攝影師、文化評論人及藝術家的作品,展覽以「回應展」方式重現香港,由 2月 28日至4月29日,於香港文物探知館舉行。

回應展以「重塑香港:建築如文化」為主題,同樣由許焯權教授和李歐梵教授策展,按 6個策展主 題:物件、房子、景觀、城市、媒介和文本,展出12個來自不同專業界別團隊的作品,目的是要在 香港着意(再)創建其國際大都會地位的今天,重新就城市的意義作出深入的反思。

The Hong Kong Institute of Architects and the ADC jointly presented Hong Kong’s exhibition at the 11th International Architecture Exhibition of Venice Biennale last year, drawing almost 33,000 people from all over the world to appreciate the excellence of Hong Kong architectural art. The exhibition was chosen by The Guardian as one of ten not to miss items in the Biennale. With its great applause from the public, the exhibition was remounted as a (左起)藝發局主席馬逢國、香港建築師學會會長鄺心怡、商 務及經濟發展局局長劉吳惠蘭,聯同策展人許焯權及李歐梵為 回應展主持開幕禮 From left: Ma Fung-kwok, Chairman of the ADC; Anna Kwong, President of the Hong Kong Institute of Architects; Rita Lau, Secretary for Commerce and Economic Development officiate at the response exhibition with curators Desmond Hui and Leo Lee Ou-fan

response exhibition – Remaking Hong Kong: Architecture as culture – for presentation in Hong Kong, to enable the public to view the distinctive artworks created by a group of architects, designers, photographers, critics and artists. The response exhibition was presented at the Hong Kong Heritage Discovery Centre from 28 Febuary to 29 April.

Remaking Hong Kong: Architecture as culture, under the curatorship of Prof Desmond Hui and Prof Leo Ou-fan Lee, reexamined the meaning of the city in terms of both its hard- and soft-ware in the challenges of creating and re-creating itself as a great metropolis. It featured the works of 12 teams of professionals according to the six sub-themes of object, building, landscape, city, media and text.

特稿 Special Report



A New Generation of Auteurist Force:

The 4th Fresh Wave Short Film Competition 由香港藝術發展局及香港國際電影節協會合辦的「第四屆 鮮浪潮短片競賽」已經圓滿結束。今屆得獎作品各具風格,由 現實世界到想像空間,無不反映和融合參賽者對生活、社會的 觀點,彰顯他們獨特的個人風格。 The search for young talents in filmmaking this year has completed as the 4th Fresh Wave Short Film Competition drew to a successful close with the award presentation ceremony held at the Hong Kong Science Museum on 29 March 2009. From whimsical to poignant, and from realistic to surreal, the range of cinematic possibilities offered by this year’s entries is emblematic of how young filmmakers’ infused their takes on life and society with a cinematic style uniquely their own.

以「尋找電影創作新人類」為主題的第四屆鮮浪潮短片競賽,頒獎禮於3月29日假香港 科學館演講廳舉行。出席的除了主禮嘉賓署理民政事務局局長許曉暉、藝發局電影及 媒體藝術組主席杜琪峯、香港國際電影節協會總監邵淑慧及著名演員劉青雲外,著名 導演陳木勝、陳慶嘉、邱禮濤、麥兆輝、游乃海及林超賢亦以指導師身分出席活動。 Jointly organised by the Hong Kong Arts Development Council (ADC) and the Hong Kong International Film Festival Society (HKIFFS) for the fourth year, the Fresh Wave Short

上起 From top:

Film Competition aims at promoting film-making and unearthing up-and-coming talents

1. 指導師及入圍參賽者 Film-making aspirants and their mentors

embodied in the spirit of this year’s theme, “In Search of Young Talents in Film-making”. The guests of honour officiating at the award presentation ceremony were Florence Hui Hiu-fai, Acting Secretary for Home Affairs; Johnnie To Kei-fung, Chairman of the Film and Media Arts Group, ADC; Shaw Soo-wei, Executive Director of the HKIFFS, and Sean Lau, the award-winning actor. Also present were the competition’s panel of star mentors, which comprised renowned local directors Chan Muk-shing, Chan Hing-kai, Herman Yau, Alan Mak, Yau Nai-hoi and Dante Lam.

2. 左起:藝發局電影及媒體藝術組主席杜琪峰、署理民政事 務局局長許曉暉、著名演員劉青雲、藝發局行政總裁茹國 烈出席頒獎禮 From left: Johnnie To Kei-fung, Chairman of the Film and Media Arts Group; Florence Hui Hiu-fai, Acting Secretary for Home Affairs; actor Sean Lau; and Louis Yu, Chief Executive of the ADC 3. 頒獎禮現場播放參賽作品片段,吸引嘉賓駐足觀看 Clips of shortlisted entries find appreciative eyes at the ceremony

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鮮浪潮短片競賽旨在發掘和培育具潛質的年青電影創作人,而今屆更首度以獨立指導形式進行,邀請6位本地著名電 影導演及創作人親自指導,帶領參與競賽部分單位,完成具備個人風格的作品。競賽部分設學生組和公開組,今年 參加學生組競賽的院校共有9間;至於公開組,經遴選後亦有9個單位參與競賽部分。 參賽單位充分發揮創作力,作品各具特色,從中亦可探看他們對世界、生活的詮釋。評審後,今屆一共頒發6個獎 項,結果黃顯揚憑藉其獨特視野和創新手法,其作品《籃子》奪得「鮮浪潮大獎」,他更有機會前往其他國際影展交 流。《籃子》強烈突出「香港新浪潮」精神,故事講述一家四口的漁民,面對漁穫及收入愈來愈少,開始萌生捨棄家 中老人的念頭;為了自己的下一代,人面對前所未有的抉擇及人性的掙扎。短片同時獲公開組的「最佳創意獎」。 評審團由3位來自不同地區的業界人士擔任,包括悉尼電影節總監克麗史超活、馬來西亞電影導演李添興及香港獨立 短片及錄像比賽總監鄺珮詩。所有入圍作 品已於今年香港國際電影節期間放映。學 生組入圍參賽院校包括香港中文大學、香 港城市大學、香港藝術學院、香港教育學 院、香港理工大學、香港樹仁大學、香港 浸會大學及香港嶺南大學;公開組入圍參 賽者包括譚運佳、廖銘賢、劉韻文、蒲家

獎項 Award 鮮浪潮大獎 Fresh Wave Grand Prize

學生組最佳創意獎 Best Creativity (Student Division)

作品 Film 《籃子》 Basket 《手機》 Cell

威、黎婉明、卓翔、蘇皓暉、黃顯揚及王 俊賢。

學生組最佳電影獎 Best Film (Student Division)





mentors – a panel of six renowned local

公開組最佳創意獎 Best Creativity (Open Division)

directors and film-makers – to guide them


through the development and production

Best Film (Open Division)

process. The results were a diversity of works at once refreshing and auteurist.

特別表揚 Special Mention

黃顯揚 Wong Hin-yeung

馮廣進(香港理工大學) Fung Kwong-chun, Charlie (Hong Kong Polytechnic University)

林尚霆(香港城市大學) Merry Christmas


introduced this year, finalists were assigned

得獎者 Awardee

Lam Sheung-ting (City University of Hong Kong)

《籃子》 Basket


《無情雨》 Dry Rain


《宿命》 Homeless

Entries were open to individuals competing

Wong Hin-yeung Lau Wan-man, Flora

陳沁慧(香港教育學院) Chan Tsam-wai (Hong Kong Institute of Education)

in the Student Division as well as the Open Division, and the finalists were made up of students from nine local educational institutions and the same number of independents. Oozing with creativity and verve, this year’s Fresh Wave works express the young directors’ interpretations of life and the world through the camera’s lens. Judged both on technical merit and tenacity to the spirit of the competition, this year’s Grand Prize winner, Wong Hin-yeung’s Basket, displays the truly innovative and original creative vision of an auteur in the making. Centring on a fishing family of four and its uphill battle against declining catches and income, the short film captures the inner turmoil of the young torn between the hard decisions of leaving the senile elderly behind and seeking a new life. The film also took “Best Creativity” award in the Open Division. Wong has also won the chance to travel to other international film festivals later this year. Three veteran industry professionals hailing from Australia, Southeast Asia and Hong Kong made up this year’s judging panel. They are Clare Stewart, Director of the Sydney Film Festival; James Lee, the Malaysian film-maker; and Teresa Kwong Pui-see, Director of the Hong Kong Independent Short Film and Video Awards. Students from local tertiary institutions and aspiring independents film-makers combined to ensure a fiercely contested competition. Among them were finalists from The Chinese University of Hong Kong, City University of Hong Kong, Hong Kong Art School, Hong Kong Institute of Education Hong Kong, Hong Kong Polytechnic University, Hong Kong Shue Yan University, Hong Kong Baptist University and Lingnan University; the shortlisted finalists of the Open Division included Tam Wai-kai, Stanley Liu, Flora Lau, Po Ka-wai, Lai Yuen-ming, Danny Cheuk, So Ho-fai, Wong Hin-yeung and Wong Tsun-yin. A special section of the International Hong Kong Film Festival this year was devoted to the screening of the 18 finalist works.

特稿 Special Report

得獎作品簡介及評審評語 《籃子》



The family faces a life of hardship, the elderly lose their ability


to work and become a burden. How to make a choice of life?


Panelists’ comment: For its lucid, creative depiction of


a world that seems real and also is suspended in time and


place, with a quietly distressing ending that makes a powerful


comment about contemporary family values.

觀作出強而有力的詮釋。 《手機》



State of the art technology enables us to capture fleeting


moments, but memory, personal and collective, and is fast


becoming a lost art; things we try hard commit to our memory


could be the very same thing others wish to erase. What will


remain of our random snapshots?


Panelists’ comment: For its innovative approach to storytelling and its interest in the different ways that mobile devices impact on modern relationships.

《Merry Christmas》

Merry Christmas


A dysfunctional family and alienated parents thrust Ricky into

不由自主地闖進自己創作的故事中 — 他

a world of his own imagination: drifting in and out of reality


and fantasy, Ricky extricates Lolita from the grip of his hands


and sets himself free in the writing process.


Panelists’ comment: For its stylish filmmaking, strong sense


of character and inventive storytelling.


Dry Rain


A journey of self-realisation and liberation of two strangers


living under the same roof: a Filipino domestic helper and


the young man of the house develop an unlikely love affair,


one which forces them to reconcile the sense of loss and




Panelists’ comment: For its sensitive rendering of the very real issue of isolation of Filipino maids working in Hong Kong and its very polished filmmaking.




Even in the darkest corner, love shines a glimmer of hope


on the marginalised and impoverished rendered invisible


in society. A poignant portrait of homeless people, who are


striped of dignity and self-esteem and yet possess a noble love


for their loved ones that triumphs over human weakness.


Panelists’ comment: For its conceptual approach and its moving and non-sentimental depiction of real life hardship.

藝發局快訊 ADC Express

artnews vol 5

30 / 31

我與敦煌 — 饒宗頤敦煌學藝展 Dunhuang and I: Exhibition on Painting and Calligraphy of Jao Tsung-i

The ADC teamed with the Shenzhen Municipal Bureau of Culture and the 主禮嘉賓主持剪綵儀式 Guests at the opening ceremony

Jao Tsung-I Petite Ecole of the University of Hong Kong to present their first cross-regional collaboration, “Dunhuang and I: Exhibition on Painting and Calligraphy of Jao Tsung-i”, held at the Shenzhen Art Museum between


16 January and 12 February. The opening ceremony was attended by the

辦的「我與敦煌—饒宗頤敦煌學藝展」於 1月 16日至 2月

exhibiting artist Professor Jao Tsung-i, Head of the Department of Publicity


of the Shenzhen City Committee Wang Jing-sheng, Director–general of the


Shenzhen Municipal Bureau of Culture Chen Wei, Director of the Jao Tsung-


I Petite Ecole Lee Chack-fan and ADC chairman Ma Fung-kwok, as well as


government and cultural representatives from both sides of the border. The


event constituted an important landmark in establishing cultural ties between


the two cities.


Bringing together a revealing selection of scholarly studies and artistic


works on Dunhuang by Professor Jao Tsung-i, the exhibition showcased over


80 exhibits drawn from the artist’s oeuvre of colour drawings, landscape


and scenery, scriptures, wooden slips and paper fragments inspired by the historical site, a testament to the artist’s achievement and excellence in


Dunhuang studies.

集》,文獻集記錄了饒教授豐富多樣及風格獨特的展覽作 品,並收輯多篇有關饒教授的學術及藝術論文,是研究敦

Published to tie in with the exhibition, Jao Tsung-i’s Studies on the Arts of


Dunhuang documented Jao’s eclectic and stylised exhibits, supplemented by academic essays and art criticisms, making it an important reference for the studies of Dunhuang art.

紙扇創作,體現敦煌藝術 This exquisite fan embodies the art of Dunhuang

藝發局快訊 ADC Express

藝術行政及管理課程 Arts Administration and Management Training Courses 為增進本地藝術工作者和藝團的專業知



organised in February a series of courses in

於 2月份舉行一系列「藝術行政及管理課

arts administration and management training


with the objective of enhancing professional


knowledge and practice in the arts.


Speakers from across several disciplines


were invited to explore current issues and


challenges facing local arts practitioners and arts groups. Organised into three sessions, the


series drew on a set of case studies to discuss a number of isssues.





港廉政公署及香港董事學會主講,簡介 藝團董事局於監管責任的各項要點;以

In “Introduction to Accounting for Small-to-Medium Sized Arts Groups – Finance & Internal


Control”, the guest speaker from the accounting firm BDO McCabe Lo explained the


accounting fundamentals to arts groups. Representatives from the ICAC and the Hong


Kong Institute of Directors outlined the roles and responsibilities of a board of directors in


“Management Practice of an Arts Group”. Legal experts from the Law Society of Hong Kong hosted a session on “Intellectual Property Rights and Arts Contracts” that gave an overview


of intellectual property rights and other issues pertaining to the protection of property rights


over intellectual creations and the prevention of their violation, as well as legal issues to be


considered when drafting legal contracts for art projects. The training series attracted over 250 industry professionals, including executives, administrators and arts practitioners and will be rerun in May.

回到未來/紅白藍系列 Back to the Future / Redwhiteblue Series 繼黃岳東《陰陽系列》後,藝發局辦事處展出著名藝術家又一山人的《回到未來/紅白藍系 列》,再次展示本地藝術家的出色作品。又一山人透過這系列作品,表達他對文化藝術、歷 史、未來的回憶 — 一個由工業到文藝的旅程、一個由廿一到十五世紀之旅程,以及一個由現在 未來之旅程。作品於2006年創作,以具本港特色的紅白藍膠帆布,製成一個個經典瓷器造型。 又一山人原名黃炳培,是本港土生土長的藝術家,一直熱衷設計、廣告創作、攝影及藝術,對 社會狀況之題材特別專注。他的作品多次於香港及海外展出及獲獎,其《紅白藍系列》藝術作 品近年更得到本港及國際關注,又於2005年代表香港於威尼斯雙年展展出。 Following Antonio Wong’s exhibition, the YingYang Series, visitors

Originally named Stanley Wong, anothermountainman is

to the ADC Administration Office will be stumbling upon another

a local artist whose prodigious talent is matched equally

homegrown gem, the Back to the Future / Redwhiteblue Series created by

with his passion for design, advertising arts, photography

anothermountainman. A retrospective voyage to the future of culturally,

and the arts, as well as a strong interest in social issues.

artistic and historical hybrid subjects, the expressionistic and ubiquitous

His work has been widely exhibited at home and abroad,

redwhiteblue imagery of the series is epitomised in the artist’s own

garnering international recognition and acclaim. Among

words as “a journey from industry to art and craft; a journey from the

them, the Redwhiteblue Series represented Hong Kong at

21st century to the 15th century; and a journey from now to future”. The

the 51st Venice Biennale in 2005.

project was created in 2006 using the red, white and blue nylon fabric that is quintessentially and unmistakably Hong Kong.

artnews vol 5

32 / 33

匯藝坊 Arts Mart 首個由民政事務局、教育局、康樂及文化

The first Arts Mart co-organised by the


Home Affairs Bureau, Education Bureau and


Leisure and Cultural Services Department


was held at the Exhibition Gallery of the


Hong Kong Central Library between 16 and


17 January. As one of the exhibitors, the ADC


turned the booth into a showcase for arts


education schemes designed for primary


and secondary students. The programme


under the spotlight was the “Ambassadorsin-school Scheme”. The theme of “Live in


Art.Thrive in Sharing” encapsulated the


pivotal role of arts education as a vehicle


for personal and social empowerment.

主講嘉賓於會上分享經驗 Speakers give an insightful and informative talk

主席、中英劇團藝術總監古天農,以及同 為本局委員兼藝術推廣委員會成員的啟基

Arts educators, parents and teachers came together at the sharing session “Chit-chatting


Art” during the exhibition. Ko Tin-lung, Artistic Director of Chung Ying Theatre Company,


council member and Chairman of Arts Promotion Committee of the ADC; together with


two council members and members of Arts Promotion Committee of the ADC, Mok Fung-


yee, Principal of Chan’s Creative School and Wong So-lan, Teaching Fellow of the Visual


Arts Division, Department of Creative Arts and Physical Education, Hong Kong Institute of


Education, hosted a lively and stimulating discussion on finding art in life and empowering children through art.

校園藝術大使計劃 Arts Ambassador-in-School Scheme 第一屆「校園藝術大使計

A total of 500 candidates are selected from primary, secondary and special


schools across the territory to take part in the “Arts Ambassadors-in-School


Scheme” debuted this year, representing the first crop of distinguished young


ambassadors of the arts. Earlier in April, some 400 Arts Ambassadors took


part in the first event, the Creative Arts Workshops organised and run by


the Hong Kong Institute of Aesthetic Education. With the aim to heighten


sensitivity, broaden perspectives and ignite imagination, these three-session


workshops are designed for our Arts Ambassadors to experience drama,


dance, music, visual arts, photography and other art forms through interactive


and hands-on activities. For snapshots and highlights of the event, visit the


“Arts Ambassadors-in-School Scheme” website at

視野、啟發想像。工作坊的活動相片已上載於本計劃的 專有網頁,歡迎瀏覽。

Our Arts Ambassadors will go on stage to share their insights and experiences with fellow participants, teachers and parents at the award presentation

頒獎典禮將於7月5日於香港伊利沙伯體育館舉行,屆時 將邀請所有藝術大使、老師及家長一同參與,分享喜悅。

ceremony to be held at the Queen Elizabeth Stadium on 5 July 2009.

附錄 Appendix



1/1/2008 - 31/12/2008 獲資助項目 List of grants approved

卓越藝術及創作 Artistic Creation and Excellence 視藝掇英 — 專題展覽 07/08(第二部分修訂) pH5攝影連動、不一藝術、香港攝影記者協會、黑點:影像香港當 代攝影展,$400,000 馬桂順、蔡布谷:香港.水.墨.色 — 2009中國繪畫展, $400,000 香港畫家聯會、香港水彩畫研究會、尋藝者、香港油畫研究會:具 象+抽象~香港當代油畫,水彩,版畫展, $400,000


2007/08 Visual Arts Thematic Exhibition (Part 2 revised) pH5 Photo Group, EDGE Architects, Hong Kong Press Photographers Association and The Photocrafters: Imaging Hong Kong Contemporary Photography Exhibition, $400,000 Ma Kwai-suen, Chai Bu-kuk: Hong Kong . Water . Ink . Colour - Exhibition of Chinese Paintings 2009, $400,000 Hong Kong Artists Society, Hong Kong Water Colour Research Society, The Art Seekers, Hong Kong Oil Painting Research Society Western Paintings Exhibition, $400,000

2008/09戲劇中介計劃 影話戲有限公司:香港有戲,$250,000 7A班戲劇組:當代戲劇大師的身影,$400,000 香港藝穗節有限公司,$143,000 前進進戲劇工作坊有限公司:超連結牛棚實驗劇場節2009, $459,000 樹寧.現在式單位有限公司:第二屆新鮮.新動力,$100,000 劇場空間基金有限公司:翻譯劇薈萃09,$400,000


2008/09 Drama Devolved Grant Cinematic Theatre Limited, $250,000 Class 7A Drama Group Limited: Simplicity X Modern / Contemporary Dramatist, $400,000 Hong Kong Festival Fringe Limited, $143,000 On & On Theatre Workshop Company Limited: Sidekick Theatre Festival 2009, $459,000 Shu Ning Presentation Unit Limited: Green Power 2, $100,000 Theatre Space Foundation Limited: Translated Play Festival 09, $400,000

2009文學雜誌資助計劃 諸子出版社:《百家》, $429,000 香港文學評論出版社有限公司:《文學評論》,$320,000 香港城市文藝出版社有限公司:《城市文藝》,$630,000 香港文學研究及促進中心有限公司:《小說風》,$310,000 水煮魚文化製作有限公司:《字花》,$600,000


2009 Literary Arts Magazine Scheme Experts Press Limited: Park Literary Magazine, $429,000 Hong Kong Literature Study Publication Company Limited: Hong Kong Literature Study, $320,000 Hong Kong Literature Publishing Limited: Hong Kong Literature Monthly, $630,000 Hong Kong Literature Research & Promotion Centre Company Limited: Novel, $310,000 Spicy Fish Cultural Production Limited: Fleurs des Letters, $600,000

城市文學節2009 香港城市大學文康委員會,$98,000


City Literary Festival 2009 Cultural and Sports Committee, City University of Hong Kong, $98,000

中/小型歌劇演出 — 張保仔 音樂戲劇協會


Medium/Small Scale Opera Performance Music Theatre Hong Kong

新媒體藝術展覽計劃 香港藝術中心藝術學院


New Media Arts Exhibition Project Hong Kong Art School, Hong Kong Arts Centre

新媒體藝術展覽計劃 香港浸會大學視覺藝術學院


New Media Arts Exhibition Project - Where’s The Chicken Academy of Visual Arts, Hong Kong Baptist University



The 4th Fresh Wave Short Film Competition

藝術教育及推廣 Arts Education and Promotion 藝術行政及管理課程 校園藝術大使計劃

$53,000 $1,900,000

Arts Administration and Management Training Courses Arts Ambassadors-in-school Scheme

藝術獎學金 2008/2009


Arts Scholarships 2008/2009

藝術服務中心 2008/09


Arts Service Centre 2008/09

artnews vol 5

文化現場 文化現場有限公司


C for Culture C For Culture Limited, $2,880,000

賽馬會創意藝術中心社區藝術節 賽馬會創意藝術中心


Community Festival at Jockey Club Creative Arts Centre Jockey Club Creative Arts Centre

Metropop - 藝術推廣普及計劃


Metropop - Arts promotion for all projects

2008香港藝術發展獎 香港電台文教組合作「藝術同學」電台節目

$2,975,000 $7,400

34 / 35

Hong Kong Arts Development Awards 2008 Radio programme “Arts classmates” in collaboration with RTHK

學校戲曲教育計劃(三) 生輝粵劇研究中心,$202,500 香港青苗粵劇團有限公司,$144,500 京崑劇場有限公司,$100,800 天虹粵劇研究院,$210,600 黃暉木偶皮影,$191,600


School Xiqu Education Project 3 Glory Chinese Opera Institute, $202,500 Hong Kong Young Talent Cantonese Opera Troupe Company Limited, $144,500 Jingkun Theatre Limited, $100,800 Rainbow Opera, $210,600 Wong Fai Puppet and Shadow, $191,600



The 7th Hong Kong Literature Festival


Visual Arts Criticism and Appreciation Project Wen Wei Po

《視覺藝術評論及導賞園地》 文匯報

文化交流 Cultural Exchange 我與敦煌 — 饒宗頤敦煌學藝展 深圳美術館 第四屆中國(深圳)國際文化產業博覽交易會 第三屆廣州三年展 廣東美術館,$800,000


$1,800,000 $900,000

Dunhuang and I - Exhibition on Painting and Calligraphy of Jao Tsung-i Shenzhen Art Museum The 4th China (Shenzhen) International Cultural Industries Fair The 3rd Guangzhou Triennial Guangdong Museum, $800,000

研究/保存/評論 Research / Archive / Criticism 香港藝術界年度調查 07/08


Annual Survey on Arts and Culture 2007/08

香港舞蹈年鑑 2006-2008 香港舞蹈界聯席會議,$400,000


Hong Kong Dance Yearbook 2006-2008 Hong Kong Dance Sector Joint Conference, $400,000

香港戲劇年鑑 2008 國際演藝評論家協會(香港分會)有限公司,$250,000


Hong Kong Drama Yearbook 2008 International Association of Theatre Critics (Hong Kong) Limited, $250,000

香港文學年鑑 香港文學年鑑出版社有限公司,《香港文學年鑑 2006》, $195,800


Hong Kong Literature Year Book Hong Kong Literature Year Book Publication Company Limited: Hong Kong Literature Year Book 2006, $195,800

香港視覺藝術年鑑 2008 香港中文大學藝術系,$500,000


Hong Kong Visual Arts Year Book 2008 Department of Fine Arts, The Chinese University of Hong Kong, $500,000

戲曲資料中心 2008/09 香港中文大學粵劇研究計劃,


Xiqu Information Centre 2008/09 Cantonese Opera Research Programme of The Chinese University of Hong Kong, $400,000

附錄 Appendix

計劃資助 PROJECT GRANT 卓越藝術及創作 Artistic Creation and Excellence 展覽 Exhibition 1a藝團、藝術公社、亞洲藝術文獻庫、奧沙藝術基金、藝術空間、 錄影太奇 十月當代


1a Group, Artist Commune, Asia Art Archive, Osage Art Foundation, Para/Site Art Space and Videotage October Contemporary

藝術在醫院 心靈札記 — 圖文日誌工作坊及展覽


Art in Hospital Journal from the Heart - Journal Project Workshop and Exhibition

北京湖社畫會香港分會 「中華頌」北京湖社畫會香港分會成立一周年中國書畫名家邀請 「北京2008」歷屆全國青少年兒童攝影獲獎精品巡展


Beijing Hu She Art Association HK Exhibition: Celebrate the 1st Anniversary of the establishment of Beijing Hu She Art Association HK

香港中國老年書畫研究會 香港中國老年書畫研究會成立五周年暨著名書畫家作品邀請展


China (Hong Kong) Painting Calligraphy For The Aged Study Association Exhibition by China (HK) Painting Calligraphy For The Aged Study Association

香港市美畫院同學會 市美雄風 — 薪火相傳:會員聯展


City Art Studio Student Union Artworks by the members of City Art Studio Student Union

香港市美畫院同學會 市美雄風 — 葉哲豪國畫回顧展


City Art Studio Student Union Visual Arts Exhibition

中大藝術畢業籌委會2008 中大藝術「畢業展2008」—「半步」


CUHK Fine Arts Graduation Committee 2008 CUHK Fine Arts Graduation Exhibition 2008 - “Half-step”

海天書畫會 海天書畫會 — 第七屆會員作品展


Friends of Hai Tian Zhai, Hong Kong Friends of Hai Tian Zhai Member’s Exhibition 2008

琉璃坊 黃國忠 X Anona Wyi 玻璃展


Glass Kaleidoscope Studio Wong Kwok-chung X Anona Wyi Hot Glass Exhibition

甲子書學會 甲子書學會會員書法作品展 2009


Jiazi Society of Calligraphy Calligraphy Exhibition 2009 organised by the Jiazi Society of Calligraphy

管偉邦 筆墨載道 — 萬青屴、劉澤光、管偉邦國畫、書法及篆刻展


Koon Wai-bong An Exhibition of Works by Wan Qingli, Lau Chak-kwong and Koon Wai-bong

李鴻輝、泥人 視覺藝術展覽


Lee Hong-hwee, Cornelia Heidemarie Erdmann Preoccupations: Things Artists Do Anyway

潘星磊 漢字空間


Pun Sing-lui Visual Arts Exhibition

Soundpocket Limited 跨媒介展覽計劃


Soundpocket Limited Around - Listening to Places

孫樹坤 在午有端大澳


Suen Shu-kwan, Lioniman Pinhole Tai-O


The Society of Homes For the Handicapped Visual-Water-Change Integrated Art Exhibition


Tsui Tak-hing / Cheng Hok-kwan, Patrick Seal-engraving exhibition by Tsui Tak-hing and Cheng Hok-kwan, Patrick

扶康會 「眼睛 — 水 — 在變」綜合藝術展 徐德馨、鄭鶴群 金石夢 — 徐德韾、鄭鶴群書畫篆刻拓印展

電影 /錄像 /媒體藝術製作 Film / Video / Media Arts Production 陳耀成 康有為在瑞典


Chan Yiu-shing, Evans Sweden-China, 1904: Kang Youwei and Chinese Utopia

張虹 新家園


Cheung Hung, Tammy Film Creative Project

張經緯 一國雙城


Cheung King-wai One Nation. Two Cities

趙澤標 方向


Chiu Chak-piu The Direction

artnews vol 5

36 / 37

葉旭耀 媒體藝術創作計劃


劉健倫 《1/12》我們在一起


Laurent Gutierrez 電影創作計劃


Laurent Gutierrez City of Production: A Fantastic Opportunity to Experiment with Positive Capitalism

李照興 后海黃帝


Lee Chiu-hing Queen Sea Yellow King

鄧小慧 尋找掌中偶


Tang Siu-wai Film Creative Project

黃國兆 酒徒


Wong Kwok-shiu The Drunkard

尤漢邦 惡作劇


Yau Hon-pong Film Creative Project

翁志文 故夢.尋源


Yung Chi-man Reflections


Chau Mat-mat Writing Project: Novel


Dai Ping, Emma Writing Project: Novel

異人實現劇場 異獸奇觀


2 On Stage Wild Channel

愛麗絲劇場實驗室 貝克特的迴光與足跡


Alice Theatre Laboratory Beckett on Stage II: Reminiscence & Traces

Ip Yuk-yiu CHRONO. SCOPE: a project for live and algorithmic cinema Lau Kin-lun 《1/12》We’re Together

文學創作 Literary Work 周密密 《文曲譜》(長篇小說)創作計劃 戴萍 寫作計劃:《半生緣》

演出 Performance

愛麗絲劇場實驗室 卡夫卡的七個箱子


Alice Theatre Laboratory Seven Boxes Possessed of Kafka

錦添花粵劇團 粵劇演出:帝女花、紫釵記


Aroma Cantonese Opera Troupe Cantonese Opera Performance

亞洲民眾戲劇節協會 傅魯炳的故事《沒有下集》


Asian People’s Theatre Festival Society The Life And Time Of Foo Loo-bing “An Epilogue?”

蔡嘉樂 舞蹈演出計劃


Choi Ka-lok, Cody The Ever-Changing Game

雅樂合奏團 雅樂合奏團五周年音樂會之室樂演奏


Concerto da Camera Concerto da Camera 5th Anniversary Concert: Chamber Music

工俱舞蹈團 鳳舞凝華采


Dancing Group of Workers’ Club Let’s Dance

雅健社舞蹈團 /踏歌社 夢.舞人生


Elegance Society Dance Troupe / Ta Ge Se Dreams in Rhythm

香港作曲家聯會有限公司 音樂新文化 2009


Hong Kong Composers’ Guild Limited Musicarama 2009

香港國際大提琴學會 Cellistra 周年音樂會


Hong Kong International Cello Association Cellistra Annual Concert

香港聖樂團 布魯克納:謝恩讚美頌,羅西尼:聖母悼歌


Hong Kong Oratorio Society BRUCKNER: Te Deum, ROSSINI: Stabat Mater

附錄 Appendix

箏音樂 「仲樂同樂」箏音樂系列古箏音樂會


Hong Kong Professional Zheng Ensemble Friends with Zheng Music

香港愛樂管樂團 香港愛樂管樂團周年音樂會 2009


Hong Kong Wind Philharmonia Hong Kong Wind Philharmonia Annual Concert 2009

簡頌輝 簡頌輝音樂會 — 聯編歌曲頌


Kan Chung-fai, Sam Recital by Sam Kan - An Evening of Song Cycles

林建洪 新浪現代舞創作《Endlessness》


Lam Kin-hung New Wave Modern Dance Creation “Endlessness”

劉銘鏗 一眼思淚 亂撰孟姜女傳說


Lau Ming-hang Am I Crying

劉天明 舞蹈演出計劃


Lau Tin-ming Bare Stage Dance Project (BSP) 2009

錢秀蓮舞蹈團有限公司 武極系列八


Miranda Chin Dance (Mirandance) Company Limited Chinese Martial Arts Dance Series: Episode VIII

一條褲製作 豈能說錯 (暫名)


Pants Production Not Even Wrong

詩人黑盒劇場 貓痴傳奇(暫定)


Princess’ Blackbox Meow Chi

天虹劇團 新編粵劇《人鬼情未了》


Rainbow Opera Troupe Cantonese Opera Performance

香港巴赫合唱團 北國之旅


The Hong Kong Bach Choir A Nordic Journey

香港巴赫合唱團 音樂表演計劃


The Hong Kong Bach Choir The Folk Connection

雅樂社 華彩雅樂


The Pro-Musica Society of Hong Kong The Multi-Coloured World of Music

合唱俠 合唱俠音樂會 2008


The Sregnis Singers The Sregnis Singers in Concert 2008

天馬音樂藝術團有限公司 改編粵劇:《新獅吼記》


Tin Ma Music and Opera Association Limited Cantonese Opera Performance

竹韻小集 「遠古的竹跡」音樂會


Windpipe Chinese Ensemble A Chronicle of Chinese Flute

竹韻小集 「阮韻弦情」音樂會


Windpipe Chinese Ensemble Music Performance Project

黃靜婷 「城.空」舞蹈劇場


Wong Ching-ting “Living Speed” - The Dance Theatre

王冠聰 點石成音 — 從來沒有缺乏(王冠聰個人作品分享會)


Wong Koon-chung Dancing-rock: Never forsaken

山崎理惠子 狂人教育


Yamazaki Rieko Educating Mad Persons

樂樂國樂團 維港.不夜城


Yao Yueh Chinese Music Association Music Performance Project

纓華粵劇團 共創新天


Ying Wah Chinese Opera Work for the New Era

葉潤霖 /梁美嘉 /郭偉傑 /黃志榮 熾身


Yip Yum-lam / Leung Mei-kar / Kwok Wai-kit / Wong Chi-wing Dance on Fire

多空間 呼吸Ⅱ — 現象(2008 新版)


Y-Space Air & Breath II (2008 New Version)

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出版 Publication 亞洲民眾戲劇節協會 出版「在他眼底裏 — 從社會行動到民眾戲劇」


Asian People’s Theatre Festival Society Visual Arts Publication

Bickley Verner Courtenay 文學出版:英文散文讀物


Bickley Verner Courtenay Literature Publication: Footfalls Echo in the Memory: A Life

C & G 藝術單位 C & G 藝術單位 2007-2008


C & G Artpartment C & G Artpartment 2007-2008

陳志祥 視覺藝術出版


Chan Chi-cheung Lapin World Tour

陳志清 文學出版︰《鑒塘詩草》


Chan Chi-ching Literature Publication: Poetry

陳志安 文學出版︰《昨夜星辰》


Chan Chi-on Literature Publication: Novel

陳志華 文學出版︰《失蹤的象》


Chan Chi-wa Literature Publication: Novel

陳家樂 無主之城 — 香港電影中的九七回歸與港人認同


Chan Ka-lok, Sobel Publication

陳德錦 文學出版:《情之理,意之象》


Chan Tak-kam Literature Publication: Criticism/Treatise

鄭晴翾 文學出版︰《生子》


Cheng Ching-huen Literature Publication: Novel

張駿勳 文學出版︰《瑞山園》


Cheung Chun-fan Literature Publication: Novel

趙伍月柳 伍月柳畫集


Chiu-Ng Yuet-lau Collection of Ng Yuet-lau

蔡利民 文學出版︰《踏着回憶走過來—從明華大廈開始》


Choy Lee-man Literature Publication: Prose

天地圖書有限公司 文學出版:《鑪峰文集 2008》


Cosmos Books Limited Literature Publication: Collection of Literary Works

董就雄 /伍穎麟 文學出版:《淬礪集》


Dung Chau-hung / Ng Wing-lun Literature Publication: Poetry

董就雄 文學出版︰《聽車廬詩草》


Dung Chau-hung Literature Publication: Poetry


Fang Yuan Visual Arts Publication

電影雙周刊有限公司 電影藝術與社會批判理論明鏡下的電影社會史(上)


Film Biweekly Limited Publication

傅俊偉 香港紀實攝影記錄


Fu Chun-wai Visual Arts Publication

葛亮 文學出版︰《繪色》


Ge Liang Literature Publication: Prose

何大鈞 父子陶情 — 何秉聰、大鈞陶藝創意作品集


Ho Tai-kwan Ceramics Publication by Ho Tai-kwan and his father Ho Bing-chung

獲益出版事業有限公司 文學出版︰《雨中尋書》


Holdery Publishing Enterprises Limited Literature Publication: Prose

黃慶雲 文學出版︰《從小搖籃到大世界》


Huang Ching-yuen Literature Publication: Literature for children and teenagers

方元 《一別鍾情:香港建築的懷舊與憧憬》書籍出版

附錄 Appendix

黃燕萍 文學出版︰《公主手記》


Huang Yin-ping Literature Publication: Prose

匯智出版有限公司 文學出版︰《樹和烏鴉》


Infolink Publishing Limited Literature Publication: Prose

顧嘉瀰(顧媚) 山水有情 — 顧媚畫展(出版計劃)


Ko Ka-lai (Koo Mei) Paintings by Koo Mei (Publication)

顧文榕 文學出版:《輕飛的月光》


Ku Man-yung Literature Publication: Poetry

鄺國惠 文學出版︰《讓新聞活在另一端》


Kwong Kwok-wai Literature Publication: Novel

鄺龑子 文學出版︰《淡影乾坤》


Kwong Yim-tze, Charles Literature Publication: Poetry

鄺龑子 文學出版︰《七雙河》


Kwong Yim-tze, Charles Literature Publiction: Poetry

黎玉琼 文學出版︰《彩虹心聲》


Lai Yuk-king, Lorita Literature Publication: Literature for children and teenagers


Lam Man-kong Lam Man-kong Oil Painting Publication

李維克 文學出版︰《慕容羽軍中短篇小說選》


Lee Wai-huk Literature Publication: Novel

李維克 文學出版:《對影成三人》


Lee Wai-huk Literature Publication: Novel

柳宛燕 文學出版︰英文兒童文學讀物


Leou Woan-yen, Ellen Literature Publication: Lulu the Hong Kong Cat (Literature for children)

梁志鏘 各領風騷 — 詩經與楚辭音樂


Leung Chi-cheung Music Publication

梁昭嫻 柯文揚漫畫集


Leung Chiu-han O Man Yeung Comic Collection

梁姬茵 文學出版︰《津津的肚子裏有怪獸》


Leung Kee-yun Literature Publication: Literature for children and teenagers

梁璇筠 文學出版:《水中木馬》


Leung She-kwan Literature Publication: Poetry

梁慧珍 文學出版:旅遊文學 —《憂.由.遊》戲劇評論:倫敦篇


Leung Wai-chun Literature Publication: Literary Arts

李東強 無言水墨 — 李東強畫集


Li Tung-keung, John Chinese Painting Publication by Li Tung-keung, John

林幸謙 文學出版:《時代的盜火者》:《文學的信念與反思:時代的盜火 者》(上)/《教育的創新與正義:時代的盜火者》(下)


Lim Chin-chown Literature Publication: Treatise

馬桂順 「看的藝術」— 素描與創作


Ma Kwai-shun The Art of Sketching and Creativity

麥瑞茹 文學出版︰《愛讓夢飛翔》


Mak Sui-yu Publication: Novel

吳美筠 文學出版︰《時間的靜止》


Ng Mei-kwan Literature Publication: Poetry

伍宇烈 舞蹈季刊


Ng Yue-lit, Yuri YURI and company danciNG

鮑慕貞 篆刻作品集出版計劃


Pau Mo-ching Seal-engraving Publication Project

林民剛 《新界拾珠 — 林鳴崗油畫集》

artnews vol 5

40 / 41

岑允逸 係.唔係樂園


Shum Wan-yat Themeless Parks

張益平 無界影像


Stephen Cheung Photography Publication

曾偉強 文學出版:《藍巴勒隨筆》


Tsang Wai-keung Literature Publication: Prose

黃魯 黃魯作品集


Wong Lo Selection of paintings by Stephen Wong Lo 2009

黃敏華 文學出版:《見字請回家》


Wong Man-wah Literature Publication: Novel

黃世連 文學出版:《披黑紗的地球》


Wong Sai-lin Literature Publication: Poetry Collection

黃雪慧 文學出版︰《醒來的話》


Wong Suet-wai Literature Publication: Prose

黃淑琪 口卡攝影雜誌


Wong Suk-ki, Belinda Klack Photo Magazine

黃葉紅 文學出版:《太平洋的呼喚》


Wong Yip-hung, Mariana Literature Publication: Collection of Literary Works

楊陽 回應14QK展覽刊物


Yeung Yang Art Response To 14QK Exhibition Catalogue

翁志武 文學出版︰《傷花》


Yung Chi-mo Literature Publication: Poetry

藝術到家 一展眼界


Art Together Eyes To The World

香港展能藝術會 國際展能藝術學院 2009 — 以藝術啟發學生潛能,建設共融社區


Arts With The Disabled Association Hong Kong VSA Arts Institute 2009 - “The Arts as a Tool to Unlock Student Success and Create Inclusive Communities”

周輝 傳藝大使影像工作坊


Chow Fai, Frank Arts Ambassador in Motion Workshop

藝術教育及推廣 Arts Education and Promotion

Friends of the Harp Limited 亞洲豎琴節


Friends of the Harp Limited Asian Harp Festival

傅鷺陽 民間藝術院校教育推廣計劃(4)


Fu Lou-yeung Folk and Traditional Arts Promotion Project (4)

傅鷺陽 民間藝術院校教學推廣計劃(5)


Fu Lou-yeung Folk and Traditional Arts Promotion Project (5)

琉璃坊 黃國忠及蔡逸人玻璃鑄造展


Glass Kaleidoscope Studio Wong Kwok-chung X Zen Choi Casting Glass Exhibition

藝術及設計教育研習小組 我的履歷表


Group of Art & Design in Education Studies My Dream, My Life

香港藝術中心 藝術教育及推廣計劃


Hong Kong Arts Centre New Media Basics Series: Creating from Electronics

香港雅詠團 巴赫之聖誕神曲


Hong Kong Chamber Choir JS Bach’s Christmas Oratorio

香港兒童 /少年粵劇團有限公司 兒童及少年粵劇訓練計劃(2009年1至6月)


Hong Kong Children and Juvenile Chinese Opera Troupe Limited Children and Juvenile Cantonese Opera Training Programme (Jan-Jun 2009)

附錄 Appendix

香港戲劇協會 第十八屆香港舞台劇獎頒獎禮


Hong Kong Federation of Drama Societies The 18th Hong Kong Drama Awards Presentation Ceremony

香港錦燊暉戲曲天地 「南音餘韻」— 以一代南音瞽師「杜煥」先生之生平作藍本


Hong Kong Kum Sun Fai Cantonese Opera World Lingering Touch of NAM YUM

香港版畫工作室 少年印象 港澳學界圖藝匯


Hong Kong Open Printshop Visual Arts Educational and Promotional Programme

香港聯藝文化交流中心有限公司 2008 年「國粹香江校園行」(古琴藝術講座及示範表演)


Hong Kong United Arts Cultural Exchange Centre Company Limited Music Arts Education Project

英翹創意有限公司 青少年動感聲藝匯演計劃 2008


InTuition Creative Learning Company Speech Choir 2008

無界樂人有限公司 2008 無界樂人學校巡迴演出


John Chen Ensemble Limited 2008 John Chen Ensemble School Touring Programme

金永成香港木偶劇團 樂趣在掌中(掌中木偶表演暨工作坊)


Kam Wing Sing Hong Kong Puppetry Fun in Hands (Chinese Puppet Performance and Workshop)

Katrien Jacobs 跨媒介計劃


Katrien Jacobs Extra/Ordinary Dress Code: Costuming and Second Skin in HK

劍心粵劇團 劍心粵藝新苗戲曲匯演 2009


Kim Sum Cantonese Opera Association Cantonese Opera Performance by Young Artists


Kim Sum Cantonese Opera Association Cantonese Opera Training Course

朗暉粵劇團 兒童及少年粵劇訓練課程(2008年7月至12月)


Love and Faith Cantonese Opera Laboratory Children and Juvenile Cantonese Opera Training Course (Jul-Dec 2008)

馬智恆、盧家彥 Y.H.A. 2008 香港年青藝術家紀錄


Ma Chi-hang, Lo Ka-yin Y.H.A. 2008 (Young Hong Kong Artist Documentary)

默寄默劇團 香港默劇節 2009


Mime Touch Theatre Hong Kong Mime Festival 2009

新聲音樂協會 《詩.文.音樂匯》


New Tune Music Association Gala Concert in Poem and Novel


Shakespeare4All Company Limited Hubbing from Sai Wan Ho

飛鵬木偶團 「掌中天地寬(二)」中國傳統掌中木偶演出暨示範講座


Sky Bird Puppet Group Chinese Hand Puppet Show and Talk Tour (2)

飛鵬木偶團 「木偶初探」中國傳統皮影戲及杖頭木偶演出暨示範講


Sky Bird Puppet Group Chinese Shadow and Rod Puppet Show Talk Tour

鄧小樺 詩.人.光影之二 —「回憶中創造」本土保育運動詩歌多媒體匯演


Tang Siu-wa Poetry Makes People Visible II

香港書法愛好者協會 第九屆「余寄梅盃」全港書法公開賽


The Hong Kong Association of Amateur Calligraphers 9th Yu Ki Mui Cup Open Calligraphy Competition

香港中華文化促進中心有限公司 2008-2009 中國中學生作文大賽(香港賽區) — 永隆文學之星


The Hong Kong Institute for Promotion of Chinese Culture Limited Star of Literature – Hong Kong Essay Competition for Secondary School Students

黃暉木偶皮影 泉、港木偶演出(紀念木偶大師黃奕缺作品表演)


Wong Fai Puppet and Shadow Puppetry Performance for School Touring

王建衡 畫出新開始


Wong Kin-hang Art Education and Promotion Programme for the learning disabled and psychotic

香港基督教青年會 港青青少年藝術教育計劃:好年華.來造故事之 YMCArts WonderLand Festival 08/09


YMCA of Hong Kong Youth YMCArts in Education Project: YMCArts WonderLand Festival 08/09

劍心粵劇團 「劍心新苗粵藝展新姿」兒童及青少年粵劇培訓

香港小沙翁有限公司 漫遊東區誇啦啦

artnews vol 5

甄小慧 舞蹈推廣 /教育計劃


42 / 43

Yun Siu-wai, Isabella Dance Designation

盈楓舞蹈團 盈彩楓姿 2009 — 樂韻舞躍


Zephyr Dance Troupe The Dance Authentic 2009

香港建新藝術團 奇妙光影在校園


香港建新藝術團 Shadow and Puppetry School Training Programme

明儀合唱團 2008 第八屆維也納及薩爾茨堡世界合唱音樂節


Allegro Singers 2008 8th World Choral Festival, Vienna and Salzburg

陳敏兒 香港—聖保羅(巴西)藝術家雙邊交流計劃(駐港部分)


Chan Man-yee, Abby Hong Kong - Sao Paulo (Brazil) Artist Residency Project (Inbound)

陳沛浩 維也納展覽香港回應展


Chan Pui-hoe, Howard Cities of Desire

周樂婷 /周樂娉 第四屆國際雙鋼琴比賽


Chau Lok-ping, Melodic / Chau Lok-ting, Harmonic The Fourth International Piano Duos Competition

秦慶生 V.S.U. 巴松管大師班


Chin Hing-sang Bassoon Masterclass in Valdosta State University, USA

秦慶生 國際雙簧協會第三十七屆年會 2008


Chin Hing-sang International Double Reed Society 37th Annual Conference 2008

文化交流 Cultural Exchange

園泉香港基督徒藝術家團契 越營藝穗計劃 — 廿年之後


Garden Stream HK Fellowship of Christian Artists Vietnamese Art in the Camp - Twenty Years later

香港舞蹈總會有限公司 「珠三角舞蹈文化交流」計劃


Hong Kong Dance Federation Limited Cultural Exchange For Dance Community at the Pearl River Delta Project

香港口琴協會有限公司 2008 第七屆(杭州)亞太口琴節香港代表及交流團


Hong Kong Harmonica Association Limited Hong Kong Delegation in the 7th Asian Pacific Harmonica Festival, Hangzhou, 2008

香港雕塑學會 2009 香港國際雕塑交流營


Hong Kong Sculpture Society 2009 Hong Kong International Sculpture Symposium

管樂雅集 管樂雅集之「秋行」音樂會


Hong Kong Wind Kamerata Hong Kong Wind Kamerata “Autumn Tour”

江康泉 視覺藝術文化交流計劃


Kong Khong-chang Tatton Park Animation

林漢堅 視覺藝術文化交流計劃


Lam Hon-kin Media CAMP_Hybrid City (Shenzhen)

林東鵬 中國年及倫敦建築雙年展2008創作計劃─林東鵬


Lam Tung-pang Lam Tung Pang’s Project for CHINA NOW and London Festival of Architecture 2008

Laurent Gutierrez 參與第七屆光州雙年展


Laurent Gutierrez The Final Battle

羅雅詠 參與菲律賓Tupada Action and Media Art (TAMA) 08交流活動


Law Nga-wing Participation in Tupada Action and Media Art (TAMA) 08, Philippines

李允琪 對位音樂:慶祝女性與藝術創作


Lee Wan-ki, Wendy Counterpoint: Celebrating Women in the Arts


Liu Chin-bong The Invisible Force - HK-PRD Dance Exchange Programme

廖展邦 《The Invisible Force》珠三角舞蹈交流計劃 微波有限公司 微波國際新媒體藝術節 2008


Microwave Company Limited Microwave International New Media Arts Festival 2008

附錄 Appendix

旺角區文娛康樂體育會有限公司 書法展覽系列:(一)新春書法比賽參賽作品展覽(二)巡迴展


Mong Kok District Cultural, Recreational and Sports Association Limited Chinese Calligraphy Exhibition Series: (1) Chinese New Year Calligraphy Competition Participant’s Exhibition; (2) Touring Exhibition

梅卓燕 流蓮歡(德國演出)


Mui Cheuk-yin Lot . us (Germany tour)

奧沙藝術基金有限公司 縱橫流


Osage Art Foundation Crosscurrent - New Media Art

奧沙藝術基金有限公司 文化交流計劃


Osage Art Foundation Site: Seeing

奧沙藝術基金有限公司 水靈


Osage Art Foundation Siren - New Media Art

飛躍演奏香港有限公司 卓越演奏家系列


Premiere Performances of Hong Kong Limited Great Performers Series

譚祥安 駐場藝術家計劃:信樂陶藝公園


Tam Cheung-on Artist-in-Residence: Shigaraki Ceramic Cultural Park

香港青年協會 無伴奏合唱節


The Hong Kong Federation of Youth Groups A Capella Festival

采風電影有限公司 華語紀錄片節 2009


Visible Record Limited Chinese Documentary Festival 2009

黃頌恩 參與在瑞典馬爾默舉行的 Domestic Affairs 展覽


Wong Chung-yun, Magdalen Participation in the exhibition Domestic Affairs in Malmo, Sweden

黃暉木偶皮影 韓流港風


Wong Fai Puppet and Shadow Puppetry Performance for School Touring

黃美玉 不要錯過半個世界


Wong Mei-yuk, Rebecca Hit or Miss

楊漢倫 音樂到訪文化交流計劃


Yang Hon-lun East meets West: Sino-Western Relations / Intersections / Receptions / Representations

姚桑琳 國際雙簧協會第三十七屆年會2008三重奏表演


Yiu Song-lam Performance in International Double Reed Society 37th Annual Conference 2008


The Youth Literary Awards Association The 36th Youth Literary Awards

香港文學研究出版社有限公司 文學出版:《徐訏作品評論集》(香港文學研究叢書之一)


Hong Kong Literature Research Publishing Company Limited Literature Publication: Literary Criticism

林翠芬 文學出版︰《作家的魅力 — 文學名家採訪錄》


Lam Chui-fun Literature Publication: Reportage

林雪虹 視藝文集


Lam Suet-hung, Anne Essays on visual arts: HK art history, artists, art education, public art & others

懿津企業有限公司 陳卓瑩粵曲寫唱研究


Legend Enterprises Company Limited Xiqu Publication

梁笑君 香港歌劇史 — 回顧盧景文製作四十年


Leung Siu-kwan Music Publication

獎助 Fellowship / Awards 青年文學獎協會 第三十六屆青年文學獎

研究 /保存 /評論 Research / Archive / Criticism

artnews vol 5

超媒體有限公司 《香港武術系列》之「七星螳螂拳」、「香港蔡李佛」和「香港 鐵虎門」

44 / 45


Systech Technology & Media Services Limited Multi-Disciplinary Arts Publication Project

涂小蝶 《戲劇大師 — 鍾景輝的戲劇藝術》之《舞台篇》


Tao Siu-tip Master of Drama – The Theatre Life and Experience of Chung King Fai (Stage Work)

謝燕舞 《三城:另類藝術社群敍事當代藝術(香港 /北京 /新加坡)》


Tse Yin-mo Visual Arts Publication

徐傳鑫 「藝海觀瀾」— 徐傳鑫藝術評論集


Tsui Tsuen-kam Tsui Tsuen-kam Art Criticism

黃志華 因詞而生的廣東音樂


Wong Chi-wah Music Research Project

黃仲鳴 文學出版︰《一個讀者的審查報告》


Wong Chung-ming Literature Publication: Literary Research / Critique

王良和 文學出版:《永恆的聖光 — 余光中、黃國彬論》


Wong Leung-wo Literature Publication: Literary Criticism

陳子謙 文學出版︰《怪物描寫》


Chan Tsz-him Literature Publication: Prose

周瀚 文學出版:《靈魂,在陽光中飛舞》


Chau Hon Literature Publication: Poetry

車正軒 文學出版︰《小說旺角》


Che Ching-hin Literature Publication: Prose


Chung Yin-sze Killed at 17

Ewa Kuras 新苗資助計劃展覽


Ewa Kuras Absence

黎慧儀 出現 — 黎慧儀作品及紀錄(2003-2008)


Lai Wai-yi, Monti Out There - Works and Documentation by Lai Wai-yi, Monti (2003-2008)

賴恩慈 一個女子的獨腳戲之神奇女俠


Lai Yan-chi One Girl Show

李雅瑜 殘酷哈姆雷特


Lee Nga-yu Cruel Hamlet

蘇劍豪 新苗資助計劃展覽


So Kim-hoo Anime

徐惠玲 新苗資助計劃展覽


Tsui Wai-ning Color City Book

黃曉初 殺哪愛


Wong Hiu-cho Guilty

新苗資助計劃 Grant for Emerging Artists

鍾燕詩 《殺出十七歲》

藝萃第五期 Artnews Vol. 5