她能在黑夜，給我太陽——獻給潘迪華 With the Sun, She Quells the Night – A Tribute to Rebecca Pan by mill6chat

目錄 Content

策展引言

執行董事前言展場概況展覽影片

深度探索文章

Curatorial Statement

4-5

Director’s Word

6-9

Exhibition View

12 - 47

Exhibition Walkthrough

42 - 43

Deep Exploration Essays

保持距離，保持懷疑 ——

Maintain Your Distance, Stay Sceptical ―

王慰慰

Wang Weiwei

我無法「愛」你，Rebecca

I Cannot ‘Love’ You, Rebecca

從「她是誰」到「我們是誰」

From ‘Who Is She?’ to ‘Who Are We?’

【專訪】

[Exclusive Interview]

93歲潘迪華：不讓世界改變我

93-year-old Rebecca Pan: The World Won’t Change Me

李勺言

一代Diva 是如何蛻變的？鄭天儀

Bruce Li

18 - 21

34 - 37

How Has the Legendary Diva Transformed Over Time? Tinny Cheng

44 - 47

雙城記中的人生

Life in A Tale of Two Cities

為了無法復原的過去：

For the Sake of an Unarchivable Past:

李庸宇

Yongwoo Lee

94 - 101

About the Artists

124 - 125

Acknowledgement

126 - 128

閭丘露薇

潘迪華作為流浪的轉喻

關於藝術家鳴謝

48 - 123

Luwei Rose Luqiu

84 - 87

Rebecca Pan as a Metonymy of Drifting

潘迪華於展覽現場 Rebecca Pan Visiting the Exhibition 藝術文化是我追求的夢想，希望能以當年留存的物件為藍本，

配合當代的概念，製作成二十一世紀創新的藝術作品陳列為展覽。 Arts and culture has long been my pursuit, and I hope that my historical materials could be met with contemporary ideas, coming together as an innovative exhibition fit for the twenty-first century.

潘迪華

Rebecca Pan 22.05.2022

她能在黑夜，給我太陽——獻給潘迪華 With the Sun, She Quells the Night – A Tribute to Rebecca Pan 展覽日期 Exhibition Period

10.6.2023-23.10.2023

策展引言

Curatorial Statement

潘迪華⸺一位香港跨領域的文化拓荒者，涉足娛樂、音樂與藝術，並持續啟發年輕的創作者們，「她能

With the Sun, She Quells the Night – A Tribute to Rebecca Pan was dedicated to the Hong Kong

（潘迪華）緊密溝通合作，挑選極為珍貴的個人文獻與物品，藉由多樣的媒介和當代藝術的呈現方式，讓

emerging talents today. Conceived in close collaboration with the artist herself, the exhibition rejuvenated

在黑夜，給我太陽⸺獻給潘迪華」正是獻給這位舉足輕重的藝壇前輩。CHAT六廠策展團隊與潘姐姐參觀者在歷史與現實中來回穿梭，並展開與潘姐姐的親密對話。

從亭亭玉立的少女到處變不驚的明星，由艷壓舞台的表演者轉型為原創音樂劇的製作人；從為人女兒到為人母親，展覽的每個段落都將訴說潘姐姐多姿多采人生中的蛻變時刻。從1930年代在上海時的花樣青

cultural pioneer whose career spans across entertainment, music and art, and who continues to inspire archival materials through a variety of display methods and combined the historical material with the contemporary art of today. Together, the integrated exhibition experience placed into dialogue the past and the present, Rebecca and us.

春，到1940年代抵港的早期歲月、1950至1960年代建立蜚聲國際的音樂事業，再到1970年代參與極具實

From a poised young girl to an unflappable self-assured star, impressionable entertainer to original

躊躇，卻總是勇往直前。所有的情緒與經歷的起伏都已在展覽中獲得豐富的當代演繹。

Rebecca’s multi-dimensional life. We began with her formative years in 1930s Shanghai, arrival to Hong

驗性的代表作，直至今天仍期盼與廣大觀眾交流的熱切之情，潘姐姐的經歷峰迴路轉、坦誠盡致，雖偶有

CHAT六廠策展團隊與藝術家鄭得恩共同構思，塑造整體性的觀展感受。同時，鄭得恩為展覽創作了大型

影像裝置，聚焦潘姐姐創作中的先鋒精神，將其演繹成她自己於1972年製作上演的音樂劇《白孃孃》中的白蛇形象，而這部音樂劇可謂香港首齣華語音樂劇。此外，潘姐姐未曾曝光的錄像片段也貫穿展覽，片段由其晚輩摯友陳頌騏經年攝錄，記錄了潘姐姐事業與生活的多重面向。

artist, daughter to mother – each turn of the exhibition presented a defining moment of transformation in Kong in the 1940s, international music career of the 1950s and 1960s, landmark projects of the 1970s, through to her continued dedication to bring tradition to wider audiences today. In the making of this legendary figure, Rebecca revealed herself as someone who is creative, honest, at times uncertain but above all courageous – one who has lent a resonating array of emotions, experience and materials for contemporary interpretation.

本次展覽超越了個人回顧的意圖，從展覽本身到公眾活動，均關注潘姐姐經歷過、並做出過貢獻的娛樂

Artist Enoch Cheng worked closely with the CHAT curatorial team in the shaping of the holistic

景迷茫的當下。「她能在黑夜，給我太陽⸺獻給潘迪華」讓我們向潘姐姐尋求靈感和想像：我們要如何

installation, comparing our maverick to the folkloric White Snake of Pai Niang Niang, Rebecca’s seminal

行業和旅遊文化。潘姐姐的人生，更見證了二十世紀世界格局的巨變。我們也希望藉由這個展覽，直面前以那種靈活、優雅、柔韌的姿態，駕馭現實的處境，成為更好的自己？

我們希望這場豐富多元的展覽為大家帶來廣泛的思考、內省和對話。親愛的潘姐姐，她還有很多很多話想和我們說……

exhibition experience. Cheng further captured the pioneering spirit of Rebecca in a large-scale film production from 1972 that is also regarded as Hong Kong’s first musical in the Chinese language. Elsewhere and throughout the exhibition, previously unseen footage of Pan’s personal and professional life, attentively recorded by long-time pupil Chan Chung Ki, was displayed to animate all facets of the gleaming star. Going beyond a personal retrospective, the exhibition display and event programming also depicted wider entertainment and travel cultures that shaped and were negotiated by Rebecca. As Rebecca’s career bore witness to the seismic shifts of the 20th century, so too are we presently confronted with the unfolding of disorientating times. With the Sun, She Quells the Night turned towards Rebecca for inspiration and imagination once again: How could we navigate our circumstances with similar dynamism, grace and tenacity to become the best version of ourselves? We hoped the cross-disciplinary nature of the exhibition afforded visitors much expansive thought, reflection and dialogue – there was yet more to hear and learn from our dearest star, Ms Rebecca Pan.

執行董事前言

在「她能在黑夜，給我太陽——獻給潘迪華」展覽正式開幕前夕，「潘姐姐」（一眾同事對潘迪華姐姐的暱

今次展覽的策展人王慰慰和李勺言向潘姐姐提出，把她多姿多采的演藝生涯、生活力和創造力，作為一

人員都在哪裡？我想見見大家。」即使那時防疫措施已除，但為減輕她的感染風險，我們還是限制了展廳

展人和藝術家去構思展覽，不曾干預他們的藝術手法或作品。在整個製作過程中，她一直以無比開放的態

稱）低調到訪了CHAT六廠。那天她在策展人的導賞下參觀展廳時，輕輕的說了一句：「CHAT六廠的工作的員工人數。當刻我們趕緊召集辦公室的同事前來，潘姐姐看著眼前每張臉孔，都報以微笑和暖語，表達

她的謝意。年輕的同事被她的真摰之言所感動，臉上滿載笑容。當我目睹這幕時，再次感受到潘迪華這位

種非物質文化遺產呈現，再由當代藝術家鄭得恩詮釋給現代觀眾。潘姐姐接受了這個提議，全盤信任策度，擁抱年輕一代的創意想法。這份胸襟證明她對所有創作者均深深尊重，不分長幼。

殿堂級藝人所奠下的非凡成就，至今依然深得人心。潘姐姐希望盡量與人分享她的喜悅樂趣，不分地位年

這場展覽不僅讓緬懷潘姐姐的一代觀眾紛湧而至，更吸引了許多年輕人。看到他們對潘姐姐的舊照、物

CHAT六廠一向是專注於紡織遺產的社區藝術館，也許會有人好奇為何我們與潘姐姐合作辦展，因此我想

我謹代表CHAT六廠向潘迪華姐姐表示衷心謝意，感謝她為是次展覽和本季項目的創作提供靈感，亦要感

齡，正是這份態度定義了「潘迪華」這個人。追述一下這個獨特展覽的緣起由來。

2022年春天，正值新冠疫情高峰之際，潘姐姐初次來訪CHAT六廠，應是從報章新聞聽到這個名字，因而

品和錄像片段如此投入地觀看，我確信世界來到二十一世紀才終於追上她的步伐。

謝鄭潔珊的慷慨支援和寶貴協助，以及感謝陳彩玉令展覽得以實現，最後感謝鄭得恩和陳頌騏對展覽的藝術貢獻。

產生興趣。CHAT六廠與傳統的歷史或工業博物館不同，是香港紡織工業的保育項目，積極邀請當代藝

我相信潘姐姐以作品創造新世界的堅定志向，一如白蛇源源不絕的靈力，歷久彌新，超越時間。

二：邊織邊拆的網」，參展藝術家包括新晉及職涯中期的東亞當代藝術家。

高橋瑞木

術家和設計師參與其中，以嶄新角度探索昔日歷史。當時潘姐姐在CHAT六廠看的是群展「再紡東亞系列當時潘姐姐仔細欣賞每件展品，用心聆聽策展人的講解。作為觀眾她絕不被動，反而積極分享自己對展

CHAT六廠執行董事及首席策展人

品的看法和觀點，令這趟觀展體驗加倍豐富愉悅。是次參觀過後，她確認CHAT六廠是一個合適的展覽場

所，去將其人生作為一種「非物質文化遺產」呈現，因為這裡體現了一種開拓精神，與其演藝生涯的態度不謀而合。我們的合作也就此展開。

潘姐姐的影響遠遠超越演藝界別，她曾代表普羅大眾擔任文化外交大使，致力令非華語世界認識華語歌

曲，亦憑藉她的歌舞表演和親善氣質，迷倒世界各地的觀眾。潘姐姐具有遠見卓識，無懼自我挑戰，承當

文化人物之重任，甚至不惜付出個人代價，前衛實驗音樂劇《白孃孃》由是誕生。這部作品揉合了東西文

化和美學，可惜不符合當時的主流喜好，導致商業失利。然而即使在商業上是一場敗北，這部作品卻仍動人心弦，一如歷史中許多前衛藝術家，他們的某些作品均曾被冠以「失敗」之名，其後卻被譽為是偉大傑作。

Director’s Word

On the eve of the opening of With the Sun, She Quells the Night – A Tribute to Rebecca Pan, Jiejie – a term of endearment that my colleagues at CHAT use to refer to Madam Pan – made a private visit to the exhibition. Guided by the curators, she toured the gallery and remarked, ‘Where are all the CHAT staff? I would love to meet everyone.’ Despite COVID-19 restrictions having been lifted, the number of staff present in the gallery was restricted, to minimise the risk of infection for Madam Pan. We hurriedly summoned colleagues working in the office, and as Jiejie met them, she expressed her gratitude with a smile and kind words. The young colleagues were moved by Jiejie’s heartfelt comments and wore smiles on their faces. Seeing this, I once again recognised the remarkable career that Rebecca Pan built as a leading entertainer, continuing to captivate the hearts of people. Jiejie’s attitude, driven by a desire to share joy and fun with as many people as possible, without judging them based on titles or age, is what defines her as the person she is – Rebecca Pan. Since CHAT is known as a community museum with a focus on textile heritage, some might wonder why it decided to collaborate with Jiejie on an exhibition. I would like to provide some background on what led to the realisation of this unique exhibition. During Spring 2022, Jiejie paid a visit to CHAT at the height of the COVID-19 pandemic. It appears her interest in CHAT had been piqued by some media coverage. Unlike traditional historical or industrial museums, CHAT is part of Hong Kong’s industrial heritage, specifically, the textile industry. It constantly seeks to explore the past from fresh perspectives by actively engaging contemporary artists and designers. At the time of Jiejie’s visit, CHAT was hosting a group exhibition titled Spinning East Asia Series II: A Net (Dis)entangled, featuring both emerging and mid-career contemporary artists with ties to East Asia. Jiejie took her time to genuinely appreciate each artwork, carefully listening to the curator’s explanations. She was far from being a passive viewer and she actively shared her own perspectives and opinions on the works, making our own experience of the exhibition all the more enriching and enjoyable. After her visit, Jiejie felt that CHAT might be a fitting venue for an exhibition showcasing her own life as an intangible heritage, as it embodied the same pioneering spirit that had always characterised her own journey. It was at this point that our collaboration kicked off. Jiejie’s impact extended well beyond the realm of entertainment. She served as a cultural diplomat who strived to make Chinese songs understood by people outside the Chinese-speaking world. Through her performances and amiable personality, she attracted audiences in cities across the world. Jiejie also possessed remarkable foresight and challenged herself to fulfil her responsibility as a cultural figure, even at personal cost. This led to an avant-garde and experimental musical, Pai Niang Niang, which integrated Western and Eastern cultures and aesthetics. Unfortunately, the musical, being a little out

of its time, was not a commercial hit. However, this failure fascinated us, as it resonated with the experiences of many avant-garde artists throughout history who were scorned in their own day but are now recognised for their most significant contributions. The exhibition’s curators Wang Weiwei and Bruce Li proposed an idea to Jiejie. They suggested presenting her eventful life, vitality, and creativity as intangible cultural heritage, and conveying it to the public of today through the interpretation of contemporary artist Enoch Cheung. Jiejie accepted the proposal, placing her trust in the curators and the artist, allowing them to conceive the exhibition. She never once attempted to exert control over their methods or creation. Throughout the production process, Jiejie consistently exhibited an open-mindedness towards the creativity of the younger generation. Her tolerance served as a testament to her deep respect for creators, regardless of their age. The exhibition attracted not only the generation that fondly remembered Jiejie’s performances but also many young people. Seeing their enthusiastic engagement with Jiejie’s photos, materials and documentary videos, I was convinced that in the twenty-first century, time was finally catching up with her progressiveness. On behalf of CHAT, I would like to express our immense gratitude to Rebecca Pan for being an inspiration in the creation of this exhibition and the programmes for this season. I would also like to extend our thanks to Gindy Cheng for her generous support and invaluable assistance in bringing the exhibition to fruition, to Priscilla Chan for making the whole thing possible, and to Enoch Cheng and Chan Chung Ki for their artistic contributions to the exhibition. I believe that Jiejie’s unwavering aspiration to unveil a new world through her creations has proven to be as timeless as the enduring power of the White Snake. Takahashi Mizuki Executive Director and Chief Curator, CHAT

展覽概況 Exhibition View

觀覽開始 Beginning of the Journey

潘迪華在王家衛導演1990年的電影《阿飛正傳》中

Rebecca Pan in the film Days of Being Wild, directed by Wong Kar Wai in 1990 2023年的潘迪華在住家寫字檯前，由陳頌騏拍攝

Rebecca Pan in front of her writing desk, photographed by Chan Chung Ki in 2023 12

潘迪華的世界 Rebecca’s World

童年、上海、時裝、旅遊大使… Childhood, Shanghai, Fashion, Travel Ambassador...

保持距離，保持懷疑—— 我無法「愛」你，Rebecca 王慰慰

我想這大概是鮮有的可以隨意書寫心路歷程和感受的「策展文章」。因為這是我第一次踏出自己的舒適

區，策劃一個圍繞非藝術人物，以個人歷史研究為出發點，以當代藝術為思考方式，非傳統的文獻與藝術創作並重的展覽 …… 所以，請允許我接下來的自由發揮。「我們不能再去見Rebecca

，不然我們會被她吞沒。」我清晰地記得在今年一月和藝術家鄭得恩在拜訪

過潘迪華家並經歷了數小時頭腦風暴般的對話後，他對我說的這句話。是的，當時的我有著完全相同的體會。

潘迪華的故事太完整太自洽了：中西合璧的華人歌手；開創中曲西詞的先河；創作了華人世界裡的第一部歌劇；王家衛電影中優雅的老上海淑女；在演藝圈交友廣泛，對家人朋友情深義重的「姐姐」…… 堪稱完

美不是嗎？當我的同事，聯合策展人李勺言在2022年夏天向我們提出為潘迪華做一個展覽提案的時候，我腦海中已經迅速地勾勒出了展覽的大致框架，要如何整合、規劃她的事業、人生、音樂和情感，就按照

上述的那些定位，展覽各個區域的分配一目了然。再邀請一位香港的當代藝術家創作作品以回應那段五光十色的老香港時光，應該不難吧？

然而很明顯的，我肯定是錯了。並且我將在之後數個月的策展工作中，為以上這些自以為是的思路付出代價。

展覽的意向很快被確定下來，我們越來越深入探觸到潘迪華這個人和她的世界，拜訪她的家，與她交談，品嚐她精心準備的家常小食，聽她講起年輕的故事，以一位93歲高齡的老人來說，她的思路相當清晰，她

述說她的童年，她的奮鬥史，她的音樂和電影，她對政治和社會議題的觀點。然而慢慢的，那個完美的形象漸漸模糊，總感覺哪裡不太對了……

她自豪於自己的音樂充滿先鋒精神，但又憤慨於當年不在大眾間流行的處境；她充滿老一輩中國人的國

族意識和文化認同，也對自己的國際化眼界引以為傲；她重複說著自己已經沒什麼放不下的，但又強調自

己的音樂藝術應該讓年輕一代人了解；她當年在音樂劇《白孃孃》中大膽的創新，體現出的卓絕的眼光、膽識和魄力都無庸置疑，但她為我們播放的2000年代重做的版本，卻透露出一種難以掩蓋的粗糙、老套

和尷尬。她收藏下來的從年輕時代開始幾乎所有演出和活動的照片及剪報，都讓我深感震驚。有人說，她對個人資料的收集具有先見之明，正是從這些資料中我們才得以窺探歷史。然而，究竟是要對自己的人生具有多大的執念，才會收藏下所有刊登在大報小報上關於自己的文字？在那些年輕時代的照片裡，她真的是時髦自信，風華絕代，然而90年代之後的照片裡，那些濃烈的妝容和高聳的燙髮，讓過氣明星的蒼涼感撲面而來……

我突然意識到，曾經我腦海中意圖分組展示潘迪華傳奇的策展思路是多麼可笑和貧乏：我落入了潘迪華的陷阱，那種她有意無意對外打造的，容易理解的藝術人生和女性形象。然而，身為女性的她，其實和每

一個普通人一樣，勇敢也怯懦，自信也自卑，時而灑脫，時而世故，弱點雖被刻意隱藏，卻又在一些前後矛盾的言行中暴露出來。但潘迪華畢竟是和普通人不同的，一個可以在舞台上活躍半個世紀的Diva，究竟是什麼樣的內在力量，支撐她，驅動她，讓她一路走到現在呢？

即使我們明知道這個世界的複雜、矛盾和混沌不清，但依然常常陷入一種對單一，清晰和明確的追求。對潘迪華的任何一種分類式呈現都將淪為一個個標籤的展示：缺少生命的溫度和人性的立體。在和鄭得恩持續數月的交流，或者更準確地說，是交鋒的過程中，我們反反覆覆質疑著敘述過很多次的關於潘迪華的成就故事，也更明確了那種平面式的策展思路絕不可取。這是一段艱難的歷程，對觀察對象即潘迪華形象的不斷推翻和重塑，也是對我自身專業工作的數度批判和反思。

我們終於明白，我們需要捕捉和呈現的，是潘迪華人生的蛻變，是去嘗試想像她生命中的內在力量，不論這種力量帶來的是榮光，還是遺憾。而展覽本身只是一段探索她的過程，而非回顧式的定論。越是意識到

箇中的複雜，我越意識到保持距離和不去「愛」的重要性，它讓我們得以以冷靜和懷疑的目光，穿透她舖撒開來的耀眼光芒，深入背後的幽深之中。

是的，不去「愛」，不論這位老人是多麼讓我想起自己的外婆……

Maintain Your Distance, Stay Sceptical ― I Cannot ‘Love’ You, Rebecca

I feel this is one of those rare ‘curatorial essays’ where one can write feely about their thought process

Wang Weiwei

‘We cannot go to see Rebecca again, otherwise we will be swallowed up by her’. I remember clearly

and impressions. This is the first time I have stepped out of my comfort zone to plan an exhibition around someone who is not a visual artist, to use individual biography as a starting point, to think about it in the artistic terms of the time, and to combine non-traditional literature and artistic creation into one exhibition... So, please allow the free expression that follows below.

what artist Enoch Cheng said to me after we had visited Rebecca Pan’s home in January this year and brainstormed for hours afterward. Yes, at the time, I felt exactly the same way. Rebecca’s story was too complete and self-referential: she was a Chinese singer who integrated Chinese and Western elements; she pioneered the trend of using Western lyrics with Chinese music. She created the first Chinese musical; she was the elegant old Shanghainese lady in Wong Kar Wai’s film. This woman had a wide range of friends in the entertainment industry and a deep love for her family and friends... Jiejie could be called perfect, right? When my colleague and co-curator Bruce Li came to me with the proposal to hold an exhibition for Rebecca in the summer of 2022, my mind was already outlining the general exhibition framework: how it would be organised, how to map out her career, life, music, and reflections according to the categories mentioned above. It was clear at a glance how each area of the exhibition would be laid out. And then inviting a contemporary Hong Kong artist to create something in response to a glamourous old Hong Kong should not be difficult, right? It is obvious, however, that I was wrong; and I would pay the price for my over-confidence during the following months of curatorial work. The direction of the exhibition was quickly determined, and we went deeper and deeper into Rebecca the individual and her world. We visited her home, conversed with her, tasted her carefully prepared home-style snacks, and listened to her tell stories about her youth. For a 93-year-old person, her thoughts were quite clear. She spoke of her childhood, her struggles, her music and movies, and her views on political and social issues. Slowly, however, the perfect image gradually blurred, and I kept feeling that something was not quite right... She was proud that her music was full of vanguard spirit, but she was also angry that it was not popular with the public at the time. She was full of Chinese national consciousness and cultural identity common among older generation Chinese, but she was also proud of having an international point of view. Rebecca repeatedly said that there was nothing she could not let go of, yet she stressed that her musical art should be presented to the younger generation so they could understand it. Her bold innovation in the musical Pai Niang Niang reflected her extraordinary vision, courage and daring, but

when she played the new recording made in the 2000s, a certain crude and hackneyed awkwardness could not be concealed. I was struck by her collection of photos and newspaper clippings from almost every performance or event since her youth. Some people say that her collecting of personal material showed great foresight and from this we catch a glimpse of history. On the other hand, how big an obsession with your own life must you have to collect every word ever published anywhere about yourself? In those photos of her youth, she was really fashionable, confident and graceful. In the photos taken from the 1990s on, however, her strong makeup and towering perms hit one with the desolate feeling of a has-been celebrity... I suddenly realised how ridiculous and incomplete my way of thinking about presenting the legend of Rebecca Pan was. I had fallen into her trap of the easy-to-understand artist and female star image that she had intentionally or unintentionally created. As a woman, in fact, she was actually just like any other ordinary person: brave and timid; confident and insecure; sometimes natural, sometimes sophisticated. Although she deliberately concealed her weaknesses, they pop out in the inconsistencies between her words and her actions. But, after all, Rebecca was different from ordinary people. As a diva who was active on stage for half a century, what kind of inner strength supported her, drove her, and allowed her to come all the way to where she is now? Even though we know that the world is complex, contradictory, and chaotic, we still often fall into pursuing a unitary clarity and certainty. Presenting Rebecca through any sort of classification would have reduced her to a labelled display that would lack the warmth and three-dimensionality of a human life. During the months of continuous communication with Enoch Cheng, or, to be more precise, during the process of us challenging each other, we interrogated the stories that have been told about Rebecca’s achievements over and over again. It became clear to us that we absolutely could not use a two-dimensional curatorial approach. This was a very difficult process of constantly overturning our topic of investigation and reshaping the image of Rebecca. It also involved multiple critical reflections of my own professional work. We finally understood what we needed to capture and present. It was the transformation of Rebecca’s life: to try to imagine her inner strength, whether this strength brought her glory or regret. The exhibition itself, in fact, was only a chance to engage in the process of exploring Rebecca, rather than attempt to formulate a retrospective conclusion. The more I became aware of the complexity in this, the more I realized the importance of maintaining distance and not being in ‘love’ with your subject. This is what allowed us the calm sceptical gaze to see through the dazzling light she spread, and to penetrate the depths behind it. Yes, don’t fall in ‘love’, no matter how much this older lady reminds me of my own grandmother...

白孃孃的前世今生 The Afterlives of Pai Niang Niang

朋友與家庭 Friends and Family

音樂與舞台 Music and Stage

從「她是誰」到「我們是誰」李勺言

最近一次去潘迪華姐姐的家，她拿出一道絕頂菜式，卻不是精緻的上海菜，而是即溶咖啡中混入將過期的燕窩，儉約而得體，一切很是姐姐。我們初次認識之際，正值中秋時節，當時家傭端上月餅配雪糕，

姐姐還嚷著月餅必須在微波爐中「叮」幾秒。暖暖的月餅配上冰凍的雪糕，意想不到卻就是合理。她 fusion，她「怪雞」，她不能被理解，其實還真香港。從回顧過去到直面當下這個展覽拆展在即的兩天，我回到展覽的第一件展品前，對著介紹過無數次的一份1960年代英文剪報，標題寫著的是聯合策展人王慰慰對姐姐提出的詰問：「Who Is She? （她是誰？）」。我們要如何理解一個沒有框架所能束縛的人物？如何以傳統上應該清晰無誤的展覽作為載體，去呈現一個立體、複雜、重疊，並且橫跨一個世紀的故事？

籌劃每一個展覽都百般滋味在心頭，但終究也是個幸福的體驗。能夠與資深策展人、當代藝術家、平面設計師、紀錄片導演，當然還有與我年齡相距逾60年的姐姐合作，我心懷感激。展覽開幕以後，我的工作便

轉為向觀眾提供導賞，因為能操流利廣東話、普通話與英語，所以能輕易與不同界別、年齡與階層的觀眾

交流。做展覽帶來的幸福源於可以綜合各種觀點，從而察覺大眾的口味與審美，了解當下香港人的胸襟能夠容納的觀點與角度，日常生活為了甚麼而執著。

一位碩士生曾引用展覽前言，帶點激動的問我「前景迷茫的當下」指的是甚麼，展覽又如何「直面」。我說香港處於一個從未經歷的時刻，文化像是停擺，卻又蠢蠢欲動，像一顆鉛球被拋出，卻不知何處著地；普

遍的文化論述沒有方向，只流於故步自封的本土懷舊與推崇。潘迪華作為香港少數完整保留個人檔案的

藝壇前輩，慷慨分享這個年代近乎絕跡的真材實料，這個展覽就是試圖懷著先行者的氣魄，幻想握著這批代表香港歷史的文獻，我們該如何跳脫地走下去。我抽象的回答，讓這位同學眉頭解開，似乎解決到他的一點困頓。

潘迪華展覽其實可以很易做，畢竟姐姐是個活傳奇，連自傳也出過一本，東西光放出來就已經夠漂亮得

體，但我們卻到展覽開幕前兩個月不夠，才真正定下結構與具體展品，製作可以説是臨急臨忙開始。費盡腦筋不是因為懶惰，而是為了努力思忖展覽希望迎來怎樣的訪客，甚至塑造出甚麼樣子的觀眾。如此一個展覽，是為了歌頌潘迪華、迎合經歷過香港風華絕代的圈內人士與老朋友的口味？抑或是為了獻給現處於某一種水深火熱、不知何去何從的年輕香港人？傳奇歷史的當代演繹當然，姐姐本人也是展覽觀眾之一。其中一條我被觀眾問得最熱烈的問題，便是：「姐姐看到了鄭得恩的當代藝術創作，有甚麼反應？」有的懷著誠懇態度發問，有的則嘴角上揚，似乎希望我說出些甚麼尷尬的八卦內幕，這種人通常也會急著點出展覽的各種資料缺失。有資料錯誤，我必定虛心受教，但同時認為獲

得智慧的方法，不一定是線性和理性的。我認為人物展覽不應只追求歷史的完整性，而更應該透過感情與空隙去啟發想像。這次展覽有了當代藝術的詮釋與介入，亦為本來老生常談的潘迪華故事提供了一條出

路，將我們從回顧情懷中抽離，刺激新角度及啓發獨立批判。這或許更接近姐姐當年那種從海外歸來、為香港帶來國際視野的精神。

所以相比局部性的眼光與挑剔，我更希望觀眾留意展覽的整體鋪排和情緒。展覽提供觀賞路綫，但那終究是一個三維空間，觀眾可以自主地來回游走，聲畫更不是同步，所以每次踏入展覽空間，都可說是一種

全新體驗：這邊看完1972年的《白孃孃》文獻，拐彎再看千禧年代姐姐對於這部音樂劇的憶述，昂頭、回首、望左、望右、踏前、踏後，展覽鋪陳出來的畫面，原來可以如此錯綜複雜、自相矛盾，甚至使人感到迷失不安，仿佛更能體現一個人的多重面向、尤其是姐姐面對失敗的坦然。

展覽開幕一個月，首輪觀眾人潮終於過去，我便休假兩週，去了意大利南部享受陽光，在拿坡里的街頭遇

見姐姐，聽到了她經常翻唱的民歌「‘O sole mio」。回到香港，姐姐便立刻約見，想聽聽我的見聞。她問我覺得意大利如何，因她早就猜到我會喜歡。我説喜歡，卻説不出為何。她說這是因為意大利人民的浪漫

使他們懂得欣賞和思考，而功利的香港為求效率，凡事分門別類、看事情非黑即白，抹殺了許多非二元事物存在的可能性。我們是誰？姐姐曾經問我，年紀輕輕，為甚麼要留鬍子？當時的同行者笑說我是要裝成熟。其實同行者沒有錯。展覽

問「她是誰？」，那「我是誰？」我憑甚麼為這位大前輩辦展覽？跟姐姐相識之時我才27歲，一個出生並成長於香港的年輕人，跟她1957年在璇宮戲院出道時同齡。初次見面的時候，我對姐姐的認知也停留於 1990年的《阿飛正傳》，她早年的風華我一概不知。我初時對她的歷史不夠了解，姐姐清楚知道，但仍給

予信心，大抵是因為她看得出裝成熟的我，除了帶著一份稚嫩的浪漫，還有丁點自知之明，也看出了我對於大眾文化的沉默控訴。

向來用英文寫作的我，用了中文寫這篇文章，腦海唸著的更是與姐姐對話時用的普通話，見證去做一個複雜如潘迪華的人物展覽，我們先要觀察並接近（不是接受）她的全部，從生活、語言、藝術、歷史、飲食、喜惡等不同範疇同時入手。

原來「她是誰？」這個問題不是單向的，它更像一面鏡子會反問「我們是誰？」。作為觀眾，我們何時喪失

了容納如即溶咖啡與燕窩、月餅與雪糕等宛若漩渦般怪異而又曖昧的東西的能力？我們又該如何擁護世上不能被定義之物，從而學會自處並向前邁進？比起歷史的覆述，我更喜歡姐姐，不知是有意還是無意，能夠以前輩的身份，帶出年輕的課題。

From ‘Who Is She?’ to ‘Who Are We?’ Bruce Li

On my most recent visit to Rebecca Pan’s house, she served an extraordinary dish. It was not a delicate Shanghainese dish, but rather an unconventional blend of instant coffee and soon-to-expire bird’s nest. It was frugal yet substantial, and everything about it was so characteristically Rebecca Pan. The first time I met her was around Mid-Autumn Festival, when her housekeeper served mooncakes with ice cream. Rebecca insisted on microwaving the mooncakes for several seconds before serving. Warm mooncakes with frozen ice cream, how strange yet perfect. Rebecca is a unifying force, someone who is eccentric, truly as enigmatic as Hong Kong. From Retrospection to Navigating the Present In the two days before the exhibition closed, I returned to the first exhibit and stood in front of an English newspaper clipping from the 1960s that I had introduced to guests on numerous occasions. The headline was ‘Who Is She?’—a question my co-curator Wang Weiwei had initially posed about Pan’s life. How do we understand and present a person who clearly defies any framework? How do we interpret a multidimensional, complex and overlapping story that spans almost a century within the confines of an exhibition, a medium supposedly clear and indisputable? Every exhibition evokes a myriad of emotions, but ultimately, I am always left feeling fortunate. The opportunity to collaborate with seasoned curators, contemporary artists, graphic designers, documentary directors, and particularly Rebecca Pan, who is over 60 years my senior, fills me with gratitude. After the exhibition opening, my responsibilities extend to providing guided tours to the audience. With my fluency in Cantonese, Mandarin and English, I am able to engage with diverse audiences from various sectors, age groups, and social classes. One of the great things about curating exhibitions is you are exposed to diverse opinions about the subject, which allows me to understand how Hongkongers react to different ideas, their definitions of beauty, as well as what concerns them on a day-to-day basis. A graduate student cited the preface of the exhibition, asking with a hint of stirred emotion what our current ‘disorienting times’ referred to and how the exhibition served to ‘navigate’ it. I explained that Hong Kong is in an unprecedented moment, where culture seems to be at a standstill yet also yearning for progress, like a lead ball being thrown without knowing where it will land. Without a clear direction, the prevailing cultural discourse tends to fall into the trap of nostalgic reverence and complacency. As one of the few art veterans in Hong Kong who has retained a complete personal archive, Rebecca Pan generously shares authentic and tangible materials that are unfamiliar to the current generation. This exhibition, embodying the pioneering spirit of Pan, raises the question of how to preserve Rebecca’s historical documents, which represent Hong Kong while striving into the future. My abstract response seemed to ease the furrowed brows, as if it provided some resolution for the student.

Putting together this exhibition was always going to be feasible; Rebecca Pan is, after all, a living legend

A month after the exhibition’s opening and following the show’s initial horde of visitors, I took a

with her own autobiography and a simple display of her effects and memorabilia is stunning enough in

two-week holiday in southern Italy. On the streets of Naples, I heard ‘‘O sole mio’, a song Rebecca

itself. However, it was only two months before the opening when we truly established the structure and

often sung. Upon my return, Rebecca immediately wanted to hear about my travels. She asked how I

defined the exhibits, and the production began in a rush. The delay was not due to laziness on our part,

found Italy, remarking that she knew I would enjoy it. I said I liked it, yet I could not quite put into words

but rather a dedicated consideration of what audience this exhibition hoped to attract, or even nurture.

why. She said it was because Italy is a place filled with fantasies, and always remains steeped

The question that was repeatedly coming back to our mind was: is it meant for those who want to hear

in romance, encouraging appreciation and reflection. In contrast, Hong Kong, forever in pursuit

the same Rebecca Pan being praised and is it catered to the tastes of insiders and old friends who have

of efficiency, finds itself obsessed with categories and structures, stifling the possibility of all things

experienced the glorious era of Hong Kong? Or is it dedicated to a young Hong Kong audience who are

ambiguous.

currently in a state of deep uncertainty, not knowing how to proceed? Who Are We? Contemporary Interpretations of a Historical Legend Rebecca once asked why I chose to grow a beard at such a young age. My companions at that time Of course, Rebecca Pan herself was also an important audience member. One of the questions I was

laughed, saying I was trying to let on I was more mature than I was. In fact, that was exactly the reason.

asked most eagerly by visitors was, ‘What was Rebecca Pan’s reaction on seeing Enoch Cheng’s

When the exhibition put forward ‘Who is she?’, I also wondered ‘Then who am I?’. I often questioned

contemporary art?’. Some people asked sincerely, others slyly, seemingly hoping that I would

with what audacity I undertook an exhibition for a figure as established as Rebecca Pan; yet when I

reveal some gossipy details. These were also the same people who would often point out various

initially met Rebecca, I was just a 27-year-old youngster from Hong Kong, the same age she was when

shortcomings in the exhibition materials. If there is any mistake to the presented information I am

she debuted at the Empire Theatre. On the first meeting, my understanding of Rebecca remained

always open to learning, but I will also say that knowledge is not acquired solely in a linear or rational

fixed upon her portrayal in Wong Kar Wai’s Days of Being Wild in 1990. My limited understanding of

way. I believe that at present, exhibitions should not merely strive to be a complete representation of

her history was clear even to Rebecca herself, yet she still trusted us. Perhaps she could perceive the

history, but instead inspire a future through unspoken emotions. Importantly, this exhibition featured a

façade of maturity I projected, sensing through it youthful innocence and romance, and, importantly,

contemporary art intervention, which offered viewers a critical lens to detach from an already

a hint of self-consciousness and a sense of quieted protest.

well-known narrative of Rebecca’s life via new perspectives. In some ways, this new lens is not unlike the international vision Rebecca brought to Hong Kong in her one day upon returning from overseas.

As someone who usually writes in English, I unexpectedly used Chinese to write this article. I even found myself thinking in Putonghua, as though in conversation with Rebecca. Such a way of working is

Rather than encouraging a narrow focus and perspective, I believe it is more meaningful to assist

perhaps testament to how we should approach a person as complex as Rebecca—through all facets,

the audience in paying attention to the composition, details and overall coherence of the exhibition.

including daily life, language, art, history, food, shortcomings.

Although the exhibition follows a planned route, it is ultimately a three-dimensional space that allows the audience to freely navigate back and forth. The audio and visual elements are also not synchronised,

The question ‘Who is she?’ is more reflexive than I thought, in the end posing to us ‘Who are we?’. I am

making each visit a totally new experience. Looking at the documents of Pai Niang Niang from 1972

keener to open our minds to embrace and accept the tangled and ambiguous whirlpool of perspectives

on one side and Pan’s recollections of the musical on the other, as one raises their head, turns around,

and worldviews, not much unlike the combination of instant coffee and bird’s nest. To defend and love

gazes to the left and right, the intricately complex, absorbingly contradictory, and blurry scenes, these

the undefinable is perhaps a way of living and challenge that relates Rebecca to us today.

presented visuals of the exhibition can cause people to feel uneasy. Is this not a more honest reflection of the multifaceted nature of human beings, and importantly, Pan’s unflinching non-acceptance of failure?

環遊世界 Journey Across the Globe

展覽影片 Exhibition Walkthrough

https://www.youtube.com/watch?v=KF7zKUkIdy0

按下播放圖示以觀看展覽影片

Click the play button to view the Exhibition Walkthrough

【專訪】一代 Diva 是如何蛻變的？ 93歲潘迪華：不讓世界改變我鄭天儀

鄭天儀是一名文化藝術寫作人、文藝平台「The

Culturist 文化者」創辦人及獨立策展人。她先後

「我們未必可以改變這個世界，但至少可以不讓世界改變我。」—— #潘迪華 93歲的姐姐潘迪華一直倔強的說：「我不要一個歌功頌德的個人展覽。」由3歲死過翻生開始，她就活得率性、追求自我標準的完美。終於在她93歲，等到一班與她能synchronize 的年輕人，敢以前衛、破格的手法呈現一直前衛與破格的她。

CHAT六廠的大型展覽「她能在黑夜，給我太陽──獻給潘迪華」分兩部分，一部分是透過龐大的個人文獻與物品，與觀眾親密對話，由別人的女兒到成為別人的母親，展現一位涉足娛樂、音樂、電影、藝術的文化拓荒者如何能保持自我與清醒，一輩子不悔地走一條率性的窄路。

於《信報》及《蘋果日報》任職，專責文化藝術版

另一部分更有趣了，是策展團隊把姐姐（潘迪華的暱稱）魂牽夢縈一輩子的音樂劇《白孃孃》，由一個神

《品味蘋果》。她也是文化新聞學研習營的中文

次展現委約的大型影像裝置《寧可像蛇》，將潘姐姐比喻為她於1972年籌劃的《白孃孃》中的角色─ ─

面逾20年，並在《蘋果日報》撰寫人物訪談專欄編輯，文章散刊於《信報月刊》、《MING’s》、《明報》及蘇富比網站等。

話，轉化為另一個現代神話，把純愛與「潘迪華精神」二創成前衛嶄新的當代藝術。例如藝術家鄭得恩首白蛇。此作非常大膽有趣，夾雜音樂劇中最經典的歌曲，包括姐姐的經典《愛你變成害你》；泰迪羅賓的《控訴》，相隔幾十年回聽仍然熱血有feel。文化碰撞創造的勇氣提起潘迪華，多數人的第一印象是她在王家衛電影《阿飛正傳》裡飾演的阿飛母親一角。穿着精緻華麗的

旗袍、上海腔調和凌厲眼神，出演了最獨具韻味的上海女人。然而，潘迪華表演事業的精彩，絕不僅限於在大銀幕上，展覽像砌圖般讓觀眾看到一個完整的潘迪華。

聯合策展人王慰慰、李勺言認爲，此次的展覽具有時代意義：「潘姐姐活躍的六十年代，正好是全世界文

化碰撞最爲激烈、變化最迅速的時刻，與現在有一定的相似性。人們更加需要有實驗、獨立、創造的勇氣，才能面對時代的挑戰。」

顧嘉煇曾說過，《白孃孃》是潘迪華生平功業的情意豐碑，也是她心中一座永不倒下的「雷峰塔」。姐姐由豆蔻年華已是文化拓荒者，1972年自資一百萬港元，身兼主演、監製，改編中國民間傳説故事《白蛇傳》為香港首部華語音樂劇，亦撮合顧嘉煇和黃霑兩大名師的首次合作。當年她為此輸了身家，當

年母親因為擔心債台高築的她，由108磅暴瘦至剩84磅，如今談起這段往事，姐姐仍是不悔。展場有一個角落正是為她這心肝命椗致敬，又透過相片及文獻呈現了她的家庭故事，好些角落都很能感動人。

王慰慰憶述，「我記得我去潘姐姐家的時候，她拉著我進她的臥室打開衣櫃看一件衣服。她說：這衣服我

本來想帶著陪葬的，你覺得好嗎？要不要展覽裡面用？我說當然要，她說好的那就給你們吧！」展覽爆炸性的主題顏色，靈感就是來自這套戲服。 44

印象深刻約十年前，我到姐姐家作客，她從樟木櫳中掏出一條封塵逾40年的彩色裙子，套在身上百感交

集：「這是我的壽衣，死的時候我就要穿着它風光地離開世界。」這是《白孃孃》當年的戲服，也是潘姐姐一輩子的戰衣，守護着一樣封塵的殘夢。當年的對話，我寫了一篇文章《潘迪華—帶夢想入黃土》。姐姐面對的變幻，也是香港面對滄海桑田的變幻。「我慶幸父母生咗我呢個怪物。」姐姐說潘迪華不重要，但她的思想與精神應該流傳。姐姐回憶，三歲的時候得了急性肺炎，「發燒燒到胡裡胡塗，若不是外公及時把我送到中醫診治，我早就掛了。」或許是死過翻生，深感命是賺回來的，何𢣷怕輸？

所以，她敢違反「成名要趁早」的圭臬，27歲以單親母親的歌手身份出道，在當時傳統社會已是少見；29歲

才灌錄首張唱片《潘迪華與世界名曲》，採用中曲西詞，一曲「Ding Dong Song」（「第二春」）成為代表作。姐姐回憶，當年經理人欲把她包裝成「中國娃娃」（China Doll）吸引外國人她偏偏不依，她不要當第二個「蘇絲黃」，一生亳無雜念的專心做「潘迪華」。

潘姐姐與倫敦EMI唱片公司在1964年簽約，成為首位簽約該公司的香港歌手，1965年推出她首張個人國語 EP《情人橋》，1966年演出大東電報局紀錄片East West Island（《東西一堂》）及主唱「My Hong Kong」。

這個世界「沒有百年工廠，只有百年品牌。」潘迪華，就是一個近百年的前衛、領先品牌。展覽名字改得好，認識姐姐夠耐的人都會認同：「她能在黑夜，給我太陽」。

在CHAT和姐姐一起看預展時，我順道採訪了她，聽聽她講感受。姐姐突然興之所致，說不如唱出來：「你想知我人生是如何走過來？別忘記，你要付出些甚麼？我喜愛音樂，希望中國流行歌曲可以在世界飄洋，我為此花了很大的努力。」潘姐姐說着，唱出了「她的一生」。叩問：Why was I born ? ‘Why was I born? Why am I livin’? What do I get? What am I givin’?

Why do I want a thing I daren’t hope for?

What can I hope for? I wish I knew’—— Helen Morgan < Why was I born?>，1929 那是Helen Morgan主唱的<Why was I born?>，姐姐以低沉而滄桑的聲線清唱，說那是在述說自己的人生。此曲誕生於1929年，姐姐於1930年呱呱落地。

姐姐更有「旅行歌星」的美譽，半世紀僕僕風塵於四海，後來更當了《歡樂今宵》台柱之一。

「為什麼我來到你的世界？我得到什麼？我有沒有付出過什麼？」姐姐說着，陷入沉思。

六十年代是屬於潘迪華的黃金時代，她發行了16隻大碟和無數隻小碟。1972年，她根據中國民間傳說

春蠶至死絲方盡，姐姐說沒遺憾也不後悔，兩袖清風走一回。她就是黑夜中的太陽，剛烈而耀目，她一

《白蛇傳》，創作出香港第一齣本土音樂劇——《白孃孃》。她大膽將搖滾樂融入民間故事，找來唐書琨設計舞臺用的緊身衣與戲服，慧眼發掘顧嘉煇、黃霑這對香港流行曲的夢幻組合，展現其「敢為天下先」

的超前精神。結果？就是走得太前而輸身家，但姐姐仍是不悔，她餘生都希望《白孃孃》可以「重生」，猶如白素貞於雷峰塔等待與許仙重逢，信念一樣的堅定。

生都在實驗、冒險，在暗黑的嚴冬，為自己創造了一個又一個春天。年輕就是任性？那潘姐姐認為93歲的她仍很年輕。

姐姐曾跟我分享過一則有關她的剛烈故事：「有次在新加坡的夜總會唱歌，中途主人家起身敬酒，大叫：『飲勝！』我覺得他不尊重歌手，一氣之下拂袖而去；經理捉住我說這樣不行，人家是拿督，叫我快向人家

賠不是。我說：『我管他是誰！他沒禮貌，我就不妥協！』」姐姐談起這件往事，仍然氣在心頭，她就是這種不肯妥協的人。

寧被笑迂腐不妥協的人「好多事是上天注定，我到八十多歲才睇得開。我知道《白孃孃》已無乜希望全劇演出，如果能讓大家知道《白孃孃》的音樂、知道我的精神，也今生無悔吧。」豁達的姐姐嘆口氣說，眼神仍是倔強的。「我不會任人擺布，我唔想做花瓶，我是沒成績但我自己開心。」別人說她迂腐，她反笑人家幼稚。

[Exclusive Interview] How Has the Legendary Diva Transformed Over Time? 93-year-old Rebecca Pan: The World Won’t Change Me

Snake’ character, which she plays by herself in the 1972 musical. The work daringly mixes the most

Tinny Cheng

audience to join the different facets of Rebecca Pan together to form a complete picture.

classic song from the musical, ‘If Loving You Means Hurting You’ with Teddy Robin’s ‘The Protest’, a song that still feels exciting and passionate after all these years. Culture Clashes and Creative Courage When you bring up Rebecca Pan, most people recall her role as Yuddy’s adoptive mother in Wong Kar Wai’s movie Days of Being Wild. Wearing an elegant cheongsam, with her Shanghainese accent and a fierce look in her eyes, she played an exceptionally charming Shanghai woman. However, the brilliance of Rebecca Pan’s acting was not limited to the silver screen. Like pieces of a puzzle, the exhibition allows the

Tinny Cheng is an arts and cultural journalist, the founder of The Culturist – a Chinese language online platform for promoting arts and culture, and an independent art curator. She has 20 years of experience covering arts and culture for the Hong Kong Economic Journal and Apple Daily, where she has her own column called ‘Tasting Apple’. Currently, she serves as the Chinese editor of Culture Express and continues to contribute to Hong Kong Economic Journal Monthly, Ming’s,

Co-curators Wang Weiwei and Bruce Li believe that this exhibition has a message for our time: ‘The 1960s – when Rebecca was most active – was also a decade of most intense culture clashes and rapid changes the world had ever seen, which is not unlike today. Nowadays, people need to be even more experimental and independent, and have the courage to create when facing the challenges of our times.’

Ming Pao, Sotheby’s online and other platforms.

Joseph Koo once said that Pai Niang Niang was a loving testament to Rebecca Pan’s lifetime achievement. It is also her ‘Leifeng Pagoda’ that will stand forever in her heart. ‘We may not be able to change the world, but at least I can stop the world from changing me.’

Jiejie was already a cultural pioneer in her teenage years. But in 1972, she invested one million HKD to

- #Rebecca Pan

produce and star in an adaptation of the myth ‘The Legend of White Snake’, which became Hong Kong’s first Chinese language musical. She also brought famous composer Joseph Koo and lyricist James Wong

93-year-old Rebecca has always insisted: ‘I don’t want a solo exhibition that sings my praises.’

together for the first time. Despite her innovative spirit, she lost her fortune, and her mother’s weight dropped from 108 to 84 pounds due to worries over Rebecca’s debt. If you mention to her in this day,

Ever since recovering from a near death experience at the age of three, she has been strong-willed,

Rebecca will still maintain that she has no regrets. There is a corner of the exhibition that pays homage

pursuing her own standard of perfection. Finally, at 93 years old, a group of young people have followed

to this beloved project of hers. It also tells the story of her family through photos and documents. In fact,

her spirit and dared to present an exhibition on Rebecca that is rightfully avant-garde and unconventional.

many corners of the exhibition are very touching.

The large-scale exhibition at CHAT (Centre for Heritage, Arts and Textile), With the Sun, She Quells the

Wang Weiwei recalls: ‘I remember when I went to Rebecca’s house, she pulled me into her bedroom and

Night - A Tribute to Rebecca Pan, is divided into two parts. The first utilises her extensive collection of

opened the closet to see a garment. She said: I was planning to be buried in this dress, what do you

personal documents and artefacts to foster an intimate dialogue with the viewers. From being a daughter

think? Do you want to use it in the exhibition? I said: of course we want it, and she responded: okay then,

to becoming a mother in her own right, the exhibition lays out how the cultural pioneer of entertainment,

I’ll give it to you!’ The explosive thematic colours of the exhibition were inspired by this costume.

music, film, and art managed to stay centred - walking the narrow path she had chosen with no regrets. This story echoes my own experience when I visited Rebecca 10 years ago. She pulled out a colourful The second part of the exhibition is even more fascinating, as the curatorial team transformed the musical

skirt from a Chinese-style camphor chest that had been gathering dust for more than 40 years. She said

Pai Niang Niang, which holds a significant place in Jiejie’s (Rebecca’s nickname of endearment) heart

with mixed feelings: ‘This is my shroud. I want to wear it when I die and leave the world in glorious style.’

throughout her life, from a classical myth into a modern legend, creating a cutting edge contemporary

It was a costume from Pai Niang Niang, and also Rebecca’s lifelong battle attire that protected her sealed

art that embodies pure love and the ‘Rebecca Pan spirit’. For instance, artist Enoch Cheng’s large video

dusty dream. Based on the conversation that time, I wrote an article called ‘Burying Dreams Underneath

installation, Just Like Snake, compares Rebecca to the character description she wrote for the ‘White

Yellow Soil’.

The changes Rebecca faced were also the changes Hong Kong faced amidst the vicissitudes of time.

I Would Sooner Be Laughed at For Being Inflexible and Uncompromising

‘I’m fortunate that my parents gave birth to a freak like me.’ Jiejie says ‘Rebecca Pan’ as a figure is not

‘Many things are destined by fate. It wasn’t until I was over 80 years old that I realised it. I know

important, but her way of thinking and spirit must be carried on. She remembers that when she was three

Pai Niang Niang has no hope of being restaged in its entirety. If everyone is able to hear the music

years old, she caught acute pneumonia. ‘The fever was so high I was out of mind. If my grandfather had

of Pai Niang Niang and know my spirit, I will have no regrets.’ Optimistic Rebecca said this with a

not taken me to the Chinese medicine doctor, I wouldn’t have made it.’ Maybe because of this near-death

sigh, but she still had a stubborn look in her eye. ‘I will not be manipulated by other people, and I

experience, Rebecca has long felt that her life is earned and precious. And so, what does she have to lose?

don’t want to be just a pretty face with no substance. I may not have many achievements, but I am happy.’ Others say she is pedantic, but she mocks them as childish.

Therefore, she dared to violate the ‘to become successful, you must do it early’ rule. She made her singing debut at 27 years old when she was a single mother - which was rare for a woman to do in the society of

In today’s world, ‘There are no century-old factories, only century-old brands’. Rebecca Pan is an

that time. She recorded her first album Rebecca Pan Sings the Four Seasons at 29, pairing Western lyrics

avant-garde, leading brand that has been around for nearly 100 years. The name of the exhibition is apt.

with Chinese melodies. Her ‘Ding Dong Song’ also became a big hit. Rebecca remembered the time her

Anyone patient enough to get to know her would agree: ‘With the Sun, She Quells the Night.’

manager wanted to package her as a ‘China Doll’ to attract more foreigners. She adamantly refused. She did not want to be the second ‘Suzie Wong’, so she single-mindedly devoted her life to being ‘Rebecca

While attending the preview at CHAT with Rebecca, I took the chance to interview her and hear her

Pan’.

reaction. She suddenly got excited and said she might as well sing. She said: ‘You want to know how I got through life? Don’t forget, what is it you have to pay. I love music and hope that Chinese pop songs

Rebecca signed a contract with EMI Records (London) in 1964, becoming the first Hong Kong artist to do so.

can spread around the world. I have spent a huge amount of energy on this.’ Then she sang ‘her life’

In 1965, she put out her first solo EP in Putonghua, Rendezvous on a Bridge. In 1966, she performed in the

aloud.

documentary East West Island, produced by the British telecommunications company Cable & Wireless, and sang the popular song ‘My Hong Kong’. Rebecca became known as the ‘traveling singer’. For half a century

Why Was I Born?

she endured an itinerant life until she became a regular on the Enjoy Yourself Tonight TV variety show. ‘Why was I born? Why am I livin’? The 1960s were a golden age for Rebecca Pan. She released 16 LPs and countless singles. In 1972, she

What do I get? What am I givin’?

created Hong Kong’s first musical in the Chinese language, Pai Niang Niang, based on the Chinese folktale

Why do I want a thing I daren’t hope for?

‘The Legend of the White Snake’. She boldly blended rock music into the mythological story, hired David

What can I hope for? I wish I knew’ - Helen Morgan, ‘Why Was I Born?’ (1929)

Sheekwan to design the leotards and costumes, and brought together a dream duo in Hong Kong music industry, the late Joseph Koo and James Wong. Yet what was the result? She went ahead of her time

This song is ‘Why Was I Born?’ sung by Helen Morgan. Rebecca sang it in A cappella and in a low

and lost all her money, but she still had no regrets. All her life, she has hoped that Pai Niang Niang could

weathered voice, saying that it narrated her own life. This song was born in 1929, and she came howling

be revived. Just like the character of the White Snake waiting to reunite with her husband, Xu Xian, at the

out into the world in 1930.

Leifeng Pagoda. Her faith has been unshakable. ‘Why did I come into your world? What did I get? What did I give?’ she said, lost in thought. Rebecca once shared a story about herself: ‘I was singing at a nightclub in Singapore. In the middle of a set the host stood up for a toast and shouted: “Cheers!” I felt that he didn’t respect singers and walked

A silkworm perishes when it has spun all its silk. Rebecca says she has no remorse or regrets. She is a

away angrily. The manager grabbed me and said that my behaviour was unacceptable. The host is a VIP,

sun in the midst of a dark night, strong and bright-eyed. She has spent her life experimenting and taking

go apologise to him quickly. I responded: I don’t care who he is! He was rude, and I won’t compromise!’

risks, creating spring after spring for herself in the dark of winter.

Rebecca was still angry when speaking about this old incident. She is just that kind of person who will never compromise.

Is it youthful to be headstrong? Rebecca thinks that her 93-year-old self is still very young.

深度探索 Deep Exploration 一般人認識的藝術文化，都以琴棋書畫、舞蹈和音樂為目標。事實上中國的工藝品種類繁多，

紡織更是出類拔萃的藝術品種。2014年南豐紗廠開始活化行動，並於2018年正式開設非牟利的藝術文化館。南豐紗廠極有前瞻性，是走在時代尖端的機構，不期然令我憶及早在五六十年代，當我出國演唱時，自創中國色彩融合西方模式的旗袍，以及1972年首創音樂劇《白孃孃》所製作的服飾，都是香港歷史的點滴。

Most people can only appreciate classical forms of art like painting, calligraphy, music, and dance. In fact, there are various crafts, textiles for instance, that could also be considered as a form of art. The Mills began revitalisation in 2014, and established a non-profit arts centre in 2018. Textiles are most remarkable among the various Chinese crafts. As a ground-breaking and visionary institution, The Mills brings to mind my adventurous days as a travelling singer in the 1950s and 60s, when I’d perform in qipao that daringly merged Chinese elements with Western silhouettes. This inventive and Hong Kong spirit was further carried on to the costume designs of my first musical, Pai Niang Niang.

潘迪華

Rebecca Pan 25.05.2022

潘迪華人生中的轉折點 Transformative Moments of Rebecca Pan’s life 1930: 於上海出生，原名潘宛卿

Born in Shanghai as Pan Wan Ching

1949: 移居香港

Relocated to Hong Kong

1953: 開始以潘迪華作為藝名

Started to use the stage name Rebecca Pan

1957: 正式踏入歌壇

Began her professional singing career

1959: 灌錄首張LP唱片

Recorded her first LP

1964: 成為第一位簽約倫敦EMI唱片公司的香港歌手

Became the first Hong Kong singer to sign with EMI London

1965: 出席香港旅遊發展協會舉辦的多個國際演出活動，為香港作海外宣傳

Promotes Hong Kong through international performances and events organised by the Hong Kong Tourism Association

1967: 擔任無線電視《歡樂今宵》的主持人

Served as an inaugural host of the TVB programme Enjoy Yourself Tonight

1972: 投資製作並主演香港首部華語音樂劇《白孃孃》

Invested and performed in Pai Niang Niang, Hong Kong’s first musical in the Chinese language

1990: 開始在王家衛電影中客串演出，並因《阿飛正傳》榮獲金馬獎

Started to act in the films of Wong Kar Wai and won a Golden Horse for Days of Being Wild

在潘宛卿幼年的照片中有一張尤為特別，照片中的她騎著小馬車，剪了個小男孩的髮型，身穿黃色小旗袍。那是她的母親為安慰她被不小心剪了辮子而做的新衣服，並帶著她去照相館拍了照。這張紀錄了她與母親幸福和溫馨時刻的照片被保留至今。

潘宛卿為家中長女，合影中的是二妹潘鳳卿與弟弟潘勝華，照片中可見她早早擔當起大家姐的角色。潘宛卿畢業於上海女子中學，該校的音樂科系向來優秀，潘宛卿唸書時已在音樂科目上顯露天賦。

Of the childhood photos of Pan Wan Ching, the one of her on a rocking horse is particularly special. She wears a small yellow qipao styled with a boyish haircut. The story goes that her mother had accidentally cut her hair too short, and to comfort the little girl, her mother made new clothes for her and took her to a photo studio. The mother-daughter relationship is warmly documented in this photograph and kept to this day. Pan Wan Ching is the eldest daughter in the family. In the group photo are her younger brother, Pan Sheng Hua, and one of her younger sisters, Pan Feng Ching. One can already tell Pan Wan Ching is a caretaker of the family. Pan Wan Ching graduated from a girls’ school in Shanghai known for an excellent music programme. She was already demonstrating her musical talent.

作為中國最早開放通商口岸的城市之一，上海在20世紀初已經成為遠東首屈一指的國際都會，而它的繁榮與租界文化密不可分。

外來的⎾洋人⏌在上海紮根落戶，也帶來西方的建築、文化、語言、思想和生活方式。不同文化背景、社會身

份的人聚集在這裡，南來北往的中國文化習俗與西方現代文化碰撞融合，殖民主義與民族主義也相生相伴，醞釀出許多奇特的移民文化特性：不中不西，亦中亦西，無從定義，又無所不可……

As one of the earliest ports of China to open up to international trade, Shanghai’s pre-eminence in the Far East from the early 20th century owed much of its success to its foreign concessions. Western expatriates calling Shanghai their new home brought to the city foreign architecture, cultures, languages, thoughts and ways of living. The city quickly became a crossroads for people of diverse backgrounds, a juncture where local Chinese customs met Western modernism and where colonial ambitions thrived alongside nationalist ideals, sowing the seeds for a diverse community at once Chinese and Western, and neither Chinese nor Western – ambiguous and unfettered.

1920年代開始在歐美興盛的爵士音樂在當時傳入上海，並在1930年代與電影、文學、舞蹈等等一起達到流行的鼎盛期。不僅是旅居在上海的西方人，很多時髦的中國人，包括一大批經歷五四運動所帶來的反傳

統和性解放思潮的年輕人們，都開始熱衷於在夜總會裡歡歌起舞。這一時期的上海女性在狂熱追逐西方流行時尚的同時，也創立了屬於自己的時尚標誌⎾海派旗袍⏌。

Jazz, which had been in vogue in North America and Europe, took Shanghai by storm in the 1920s. By the booming 1930s, it had permeated through film, literature and dance in the Chinese City. The sojourners of the West and modish Chinese locals – most of whom had experienced the anti-establishment sentiments and sexual liberation brought about by the May Fourth movement – could be found gyrating together on the dancefloors of Shanghai’s nightclubs. The women of Shanghai would keep up with Western fashion while also developing their own iconic Shanghai-style qipao.

1940年代的上海經歷了日軍部分佔領上海的孤島時期到全面淪陷、租界回收，再到國共內戰直至1949年中國共產黨執政。大批的政商名門和藝文精英都在這段時期攜帶著大量的資金、人脈、潮流文化和生活方式南來香港……潘宛卿也是幾十萬來港上海人的其中之一。

In the 1940s, Shanghai experienced a brutal Japanese occupation, witnessed the end of its concessions and after years of civil war, was taken over by the Chinese Communist Party in 1949. The elites in the fields of business, politics, arts and culture flocked southward, bringing with them tremendous capital, social networks, fashions, culture and ways of living, to Hong Kong. Pan Wan Ching was one of many hundred thousands of Shanghainese that immigrated to Hong Kong. 通過潘迪華的歌聲和描述，讓我們想像她童年時的上海。展覽中的影像片段包括了潘迪華演唱上海1930

和1940年代的國語流行曲——歌星周璇的名曲「兩條路上」，這首歌描繪了早晚匆匆奔波於上下班路上的

上海普通市民的生活與心情；2004年潘迪華回上海時與弟弟妹妹走訪老家所在的街道；還有她娓娓道來的上海的四季：盛開著楓葉的秋天，和小夥伴們一起吃冰塊消暑的炎夏，在龍華觀賞桃花的春季，還有在火爐邊聽奶奶講故事的寒冬。

Through music and anecdotes, Rebecca Pan recalls her childhood in Shanghai. A video in the exhibition includes footage of Rebecca Pan singing ‘Two Roads’, a Shanghainese pop song by Zhou Xuan popular during the 1930s and 1940s. The song describes the daily hectic commute of the people of Shanghai. In 2004, Rebecca Pan and her younger brother and sister returned to a road in Shanghai where their home was once located. Rebecca Pan also delights over the 4 seasons of Shanghai: the red leaves in the fall, summers spent enjoying ice cubes with pals, observing peach blossoms in the spring and listening to her grandmother’s stories by the fire in the winter.

1950年代，南來的上海精英們在英屬殖民地的香港組成社會階級中獨特的群體，他們主要使用上海話和

英語交流，在銀行、航空、酒店、輕工業、進出口貿易等等行業中大展拳腳，相伴而來的還有他們熱衷的

聲色歌舞、社交文化、流行時尚，以及先進的紡織技術和一大批技藝高超的裁縫師傅。從潘宛卿的日常服飾上就能看到上海的時尚生活在香港的延續。

In the 1950s, the elites of Shanghai arrived in the British Crown Colony of Hong Kong, where they bolstered a unique position within its social stratification. Conversing primarily in Shanghainese and English, they excelled in banking, aviation, hospitality, light industry, and trading. And along with their passion for music and dance, social cultures and fashion, they also brought with them advanced textile technologies and artisanal tailoring skills. The sophistication of Shanghainese fashion prevailed in Hong Kong through the everyday wear of Pan Wan Ching.

經歷愛情、婚姻和離異，在歌臺舞榭和社交生活中歷練著，此時的潘宛卿已然二十好幾。在1953年參演電影《白衣紅淚》時，她擁有了⎾潘迪華⏌這個藝名，並在1957年進入夜總會歌唱後以此藝名正式出道。

「剛出來唱歌時也是為了賺錢養家，生活需要而已啊。」—— 潘迪華 Having endured the vicissitudes of the stage and of fashionable society, Pan Wan Ching in her 20s was through with love, marriage and separation. In 1953, she starred in the film A Broken-Hearted Nurse and first assumed the stage name ‘Rebecca Pan’, a name which she later used to debut as a nightclub singer in 1957.

‘I began singing to support my family, it was just to make ends meet.’ – Rebecca Pan

在1957年出道時，潘迪華已經前往新加坡的國泰餐廳演出。但直到1959年的曼谷，她才終於在香港以外

的地方進行了正式的夜總會表演。經過在香港夜總會的歷練，潘迪華所擁有的魅力和自信成為她作為旅行歌手獲得成功的關鍵。在國外，經常孤身奮戰的潘迪華以一種出人意料的「東方」女孩的無懼無畏，以及她堅持通過旗袍表現其傳統文化背景的行動，給當地報紙留下了深刻的印象。

Rebecca travelled to Singapore to perform at the Cathay Restaurant in 1957, the same year she made her singing debut. But it was not until 1959, in Bangkok, that she performed a proper cabaret act outside of Hong Kong. The glamour and confidence that Rebecca learned and practised in the nightclubs of Hong Kong became key to her success as a travelling singer. Abroad and often unaccompanied, Rebecca Pan impressed local newspapers with her fearless attitude unexpected of a girl of the ‘Orient’, as well as her persistence to represent her heritage through the qipao dress. 1957年潘迪華在璇宮戲院（後稱皇都戲院）的夜總會正式出道，並很快從一開始的駐唱歌手升級為歌唱舞蹈俱佳的綜合表演藝人（floorshow artist）。1950至1960年代的香港，夜總會林立於港島和九龍，很大部分由來自上海的猶太人、上海人和廣東人經營，聘請了大量菲律賓籍樂手組成大樂隊。這些高級夜總會

是當時政商名流的重要社交場合。潘迪華亦曾在都城、百樂門、天宮、麗池、太白海鮮舫、鷹巢等夜總會演唱，其表演不僅歌藝優秀，且擅於調動氣氛，極具感染力。

Rebecca Pan debuted at the nightclub of the Empire Theatre (later renamed the State Theatre) in 1957 and was quickly promoted to floorshow artist for her talented singing and dancing. Nightclubs were popular in the 1950s and 1960s, and could be found all over Hong Kong Island and Kowloon. These were mainly operated by Jewish immigrants from Shanghai, and by the Shanghainese and Cantonese, who often employed big band musicians from the Philippines. The more exclusive nightclubs played host to businesspeople, politicians and socialites. Rebecca Pan also performed in the nightclubs of the Metropole, Paramount, Sky Room, Ritz, Tai Pak Floating Restaurant, Eagle’s Nest and more, entertaining their guests with her singing, her infectious charm and her ability to create an atmosphere.

1960年，香港爵士音樂社第八次公開演奏會第一次邀請了華人樂師和歌手。潘迪華堅持以旗袍出席表演 Hong Kong’s Jazz Fest invited Chinese performers for the first time in 1960 at its 8th edition. Rebecca Pan insisted on wearing a qipao while performing

「我在璇宮、都城演唱時，每晚當大樂隊演奏拉丁音樂二十分鐘，我們幾個歌星各自手裡拿著搖鼓、刮板、沙錘跟著音樂

的節奏前後左右搖擺，婀娜多姿……台上台下熱鬧無比，就像嘉年華一樣，真是令人懷念。」—— 潘迪華

‘When I performed in the nightclubs of Empire and Metropole, a big band would begin the night with 20 minutes of Latin music, during which my fellow performers and I would join in with our tambourines, washboards and maracas. We’d sway the night away, it was like a carnival, and I miss it so.’ — Rebecca Pan

《Rebecca Live in the Eagle’s Nest》(1971) 是香港第一張現場錄製夜總會表演的專輯

Rebecca Live in the Eagle’s Nest (1971) is considered to be Hong Kong’s first live recording of a nightclub performance for an album

1970年代的香港希爾頓酒店。潘迪華於1970年以第一位華人歌手身份在希爾頓酒店鷹巢夜總會演唱

The Hong Kong Hilton, where Rebecca Pan performed in 1970 as the first Chinese singer at the Eagle’s Nest nightclub

潘迪華在上海度過了一個沈浸在音樂中的童年。1940年代，西方的曲調與中國的民謠自然而然地交織在這個風起雲湧的上海灘，並通過電影、廣播和留聲機唱片在全國範圍內傳播。

1949年移居香港時，在這個殖民地上很少有華人歌手用英語表演，而操流利英語的潘迪華發揮其非凡的能力，在1950年代後期成為夜總會歌手大放異彩。然而，當時曾經在上海流行的時代曲裡中西融合的風

格，其實並未完全適應這個更為西化的殖民環境，在風行一時之後便逐漸邊緣化。很快到了1960年代，對本土粵語歌曲的推崇，又使得潘迪華在本土市場難以大紅大紫。

在遇到志同道合的音樂人和唱片公司之後，潘迪華於1960年構思並推出了她的第一張唱片《潘迪華與世

界名曲》，收錄了來自世界的十二首風格獨樹一幟的歌曲，志在使曾經於上海流行一時的時代曲更加多元化。在當時的西方世界，鮮少會聽到中國的音樂旋律，帶著對這一現實的困惑和不甘，潘迪華後來於1964 年成為第一個與倫敦EMI簽約的中國歌手，她的雄心壯志是用西方歌詞演唱中國曲調。

在那個充滿分裂和反叛的1960年代，西方世界裡搖滾樂的多元流派、藍調、爵士、民謠紛紛崛起。而帶著

異域風情，唱著英文歌曲，來自香港的華人女歌手，雖然能滿足西方人對彼時遙遠東方的想像，但終究只是邊緣化的非主流存在。

似乎時代的潮流總是慢了數拍，潘迪華的音樂遠見和創新精神，讓她難以融入主流，但卻始終帶著火熱的獨立氣息。

Rebecca Pan’s childhood in 1940s Shanghai was one steeped in music, where Western tunes melded seamlessly and uniquely with Chinese folk in the burgeoning metropolis, and was circulated nationwide via film, radio and gramophone records. At the time of her relocation to Hong Kong in 1949, the colony had few Chinese singers performing in English. Taking advantage of her uncommon ability to do just that, Rebecca Pan flourished as a nightclub cabaret singer in the late 1950s. Yet the music genre of shidaiqu (Shanghainese pop) that Rebecca Pan grew up with encountered difficulty adapting to a new colonial setting that preferred Western tunes to Chinese folk music. Moreover, by the 1960s, Cantonese popular music was on the rise, posing another counterforce for Rebecca’s music to gain traction in the local market. Later, having met like-minded musicians and music labels that sought to diversify an industry stalled by earlier Shanghai glories, Rebecca conceived and launched her first LP Rebecca Pan Sings the Four Seasons in 1960 – a compilation of 12 songs from around the world in rarely heard music genres. Bewildered by the fact that there were few Chinese melodies popular in the West, Rebecca Pan’s ambition was to have Chinese tunes sung in Western lyrics when she became the first Hong Kong singer to sign with EMI London in 1964. In the complex and rebellious world of the 1960s, Western music had already expanded to include the diverse genres of rock, blues, jazz, folk and more. Rebecca Pan, a Chinese girl from Hong Kong carrying with her a tinge of exoticism, fulfilled an image of the Far East for the Western gaze, yet it left her in the margins. Rebecca Pan has always been a step ahead of her times. Her pioneering vision has also been what’s kept her away from the mainstream, often leaving her on her own less-trodden path, but always with a fiery, independent spirit.

在總共製作了十六張大碟和眾多細碟及單曲的職業生涯中，潘迪華見證了全球音樂行業所做的許多嘗試與變革。潘迪華在1960年推出的第一張唱片，是由新成立的鑽石唱片公司所製作的。鑽石唱片是一家香港本地唱片公司，以創新的態度不斷努力將中國音樂帶到國際舞臺上而聞名。

四年後，潘迪華與倫敦EMI簽約，發行了數首單曲，包括用英文演唱的中國歌曲，如「Will the Orange Blossom Smile?」（又稱「花弄影」）和「My Hong Kong」。隨著搖滾樂的流行，潘迪華的音樂並沒有獲

得市場上的成功，她很快回到香港，再次用中文製作歌曲，其中具有代表性的旋律包括了「情人橋」和「給我一杯愛的咖啡」。

In her career that produced a total of 16 LPs and numerous EPs and singles, Rebecca Pan witnessed many firsts and changes in the global music industry. Her first record in 1960 was issued by the newly founded Diamond Records, a local label known for its progressive efforts in bringing Chinese music to the international stage. Four years later, Rebecca Pan signed with EMI London, with whom she released several singles, with Chinese melodies sung in English like ‘Will the Orange Blossom Smile?’ and ‘My Hong Kong’. With rock music then in vogue, Rebecca’s music was not commercially successful, and she soon returned to Hong Kong to sing in Chinese again, with iconic melodies such as ‘Rendezvous on Bridge’ and ‘Essence of Love’.

潘迪華與已故的顧嘉煇的友誼始於1950年代末，當時顧嘉煇作為潘迪華的鋼琴伴奏在電台和夜總會裡與她一同演出。他們有一個共同的、雄心勃勃的願景，最終在1972年的音樂劇《白孃孃》中展開。

Rebecca Pan’s friendship with the late Joseph Koo dates back to the late 1950s, when Koo would accompany Rebecca as her pianist on radio and in nightclubs. They had a shared, ambitious musical vision that culminated in the 1972 musical Pai Niang Niang.

在《良友時間潘迪華特輯》中，潘迪華穿上各種包括菲律賓、泰國、日本等地的民族服裝，演唱

了中英文及各國語言的歌曲。藉由這樣的表演，

潘迪華以「旅行歌手」的姿態向香港本土觀眾介紹來自世界的文化。

In the Rebecca Pan Special, Rebecca Pan would sing in Chinese, English and various other languages while donning traditional attire from countries such as the Philippines, Thailand and Japan. Through these performances, ‘travelling singer’ Rebecca Pan brought cultures from around the world to local television audiences.

潘迪華成名於夜總會的表演，但她也長期在電視節目中演唱，尤其是1960年代末至1970年代，其歌聲隨

著香港電視業的發展而更廣為流傳。早在1959年，潘迪華已開始在麗的映聲有線電視的節目中亮相演唱，並由顧嘉煇伴奏。在潘迪華之後的旅行演出中，國外媒體也常常稱她為香港電視明星。

1967年無綫電視開台，並聘請蔡和平等人，引入澳洲第九電視台的綜藝節目《今宵在墨爾本》，打造香港版本，取名《歡樂今宵》，並作為TVB鎮台之寶逾三十多年，成為香港一代人的集體記憶。潘迪華是《歡樂今宵》的開播班底之一，並在TVB開台日演唱了第一首歌「情人橋」。

1970年11月，潘迪華與麗的電視《群星會》的幕後主腦張敏儀合作了《良友時間潘迪華特輯》，該節目創造了不少香港電視史上的創舉：第一集「東南亞」篇被傳媒報導為香港電視史上最昂貴最大型的節目；希

爾頓酒店鷹巢夜總會三十一人大樂隊伴奏演出；在新界林村進行了香港電視歌唱節目第一次的外景拍攝等等。

Although Rebecca Pan began as a nightclub performer, she had also frequently appeared on television from the late 1960s into the 1970s, when the local television industry was in rapid development. As early as 1959, Rebecca Pan had already appeared on Hong Kong’s first cable TV station, RTV, singing and accompanied by Joseph Koo. In her later travels, foreign media would often refer to her as a television star from Hong Kong. When TVB started broadcasting in 1967, it employed producers such as Robert Chua, who adapted Australia’s GTV-9 variety show In Melbourne Tonight as Enjoy Yourself Tonight, which would run for over three decades with an entire generation of Hongkongers growing up with it. As one of the inaugural hosts of Enjoy Yourself Tonight, Rebecca Pan performed ‘Rendezvous on Bridge’ in celebration of the premiere day of TVB. In November 1970, Rebecca Pan teamed up with Cheung Man Yee, the producer and mastermind of several acclaimed RTV programmes, to create a Rebecca Pan Special. The pioneering series provided many Hong Kong firsts: the first episode on ‘Southeast Asia’ was considered the most expensive production in Hong Kong yet, a performance accompanied by a 31-person big band from the Hong Kong Hilton’s Eagle’s Nest nightclub, the first outdoor broadcast by RTV, and more.

國泰航空Orient Travel新聞月刊於1965年10月出版關於ASTA（American Society of Travel Agents 美國

旅行協會）的特別刊。這一年ASTA在香港舉辦第三十五屆會議。潘迪華受邀成為香港旅遊協會第一任旅遊大使，並主唱歌曲，收錄於紀念唱片。

香港旅遊協會於1957年成立之後的十年間在宣傳方面費盡心思，將香港打造成東方的代表。1960年代香港最主要接待的是來自美國的遊客，其中大部分的美國遊客其實是在亞洲的美軍基地執行任務期間休假的美軍。而1965年，港英政府宣布對美國和十六個歐洲國家免簽旅遊簽證，進一步吸引西方遊客來港。

In October 1965, Cathay Pacific Airways published a Special ASTA (American Society of Travel Agents) Issue as part of their monthly newsletter titled Orient Travel. That year, Hong Kong was selected as the host city for the 35th annual ASTA convention. Rebecca Pan was selected by the Hong Kong Tourist Association (HKTA) as its first travel ambassador and recorded a theme song, which was later released on a commemorative album. In the first decade after its inception in 1957, the HKTA made a tremendous effort to promote Hong Kong as the face of the East. In the 1960s, Hong Kong welcomed a great number of visitors from the United States, the majority of whom were US military stationed in Asia and on leave. To attract more visitors from the West, the British Hong Kong government announced in 1965 that it would relax visa requirements, exempting the US and 16 European countries from travel visas.

《香港之聲》是一部匯集了1970年英屬殖民地香港的城市聲音、不同尋常的音樂作品。如今，這部極具實驗精神的專輯聽起來就像是對這座城市過去歲月的頌歌。

在這張由潘迪華的老朋友，攝影師 Frank Fischbeck 製作的專輯中，混合著不同的聲音，從被稱為毛主席的國歌的「東方紅」；天星小輪跳板的叮噹聲，到潘迪華的五首歌曲，最後以「天佑女皇」作結。

Once an unusual musical production compiling the urban sounds of 1970 British Hong Kong, the experimental album Hong Kong Sound today feels like an ode for the city’s bygone days. Produced by Rebecca Pan’s longtime friend and photographer Frank Fischbeck, this album includes the diverse sounds of Chairman Mao’s anthem ‘The East Is Red’, the clanking of the gangplank at Star Ferry, 5 songs by Rebecca Pan and concludes with ‘God Save The Queen’.

1960年代是被很多歷史學家認為最無序和最分裂的十年，更是社會大變革的時代：美蘇冷戰在世界各

地的衝突升級，以越南戰爭為首的各種局部戰爭和衝突、政治暗殺與政權顛覆此起彼伏。同時反叛與革命的火焰也席捲全球，一場場反戰遊行、民權運動和反文化浪潮，相繼在歐洲、亞洲及北美洲風起雲湧……1960年代亦恰恰是潘迪華的旅行演出最活躍最頻繁的時期。

The 1960s is often considered by historians as the most chaotic and divided decade of widespread social upheaval. As Cold War tension between the United States and the Soviet Union swept across the globe, conflicts escalated into regional and outright wars such as the Vietnamese War. Conflicts appeared unending with incessant political assassinations and coups d’état, while anti-war protests, civil rights and other countercultural movements emerged in Europe, Asia and North America.The 1960s is also the period when Rebecca Pan was most active in performing abroad. 在1950、1960年代的冷戰格局之下，由於香港特殊的戰略地位和自由港的優勢，來自世界各地的人在這裡摩肩接踵。旅遊業也成為港英政府重點發展的焦點，香港的形象被塑造為滿足西方旅客的東方想像，感

受異國情調的地方。自1957年出道後的十多年，潘迪華從香港出發，在東南亞、中東、歐洲、美國、澳洲等地旅行演唱，還獲得了⎾旅行歌手⏌之稱。這個身穿旗袍，來自香港的東方女孩，成為了宣傳香港最好的代言人。與此同時，她也成為戰後分裂的世界版圖衝突和重組過程的見證者。

Against the Cold War backdrop of the 1950s and 1960s, Hong Kong’s strategic position as a free port proved a desirable location for the world to jostle for. Tourism quickly became important to the development of Hong Kong and the colonial government presented Hong Kong as an exotic city to the curious eyes of the West. For the decade or so after her 1957 debut, Rebecca Pan travelled across Southeast Asia, the Middle East, Europe, the United States, Australia and more, and earned herself the title of a ‘travelling singer’. This girl of the Orient donning a qipao was the ideal spokesperson for Hong Kong. At the same time, she bore witness to a post-war world that was in the process of reconfiguration.

「好不容易盼到大陸開放了。我想，好吧！應該回去了。可是幾次回到上海，看到的、聽到的、感覺到的，都已經完全不同了。

昔日記憶中那優雅有氣派的大上海已經蕩然無存。......上海是繁榮了，人民的生活也闊綽了，可是這個城市卻失去了自己的風格。......上海變了，香港也變了。每個城市都在變，整個世界都在變......」—— 潘迪華

‘The mainland opens up, finally. I thought that I must return to it. But on the numerous occasions of my return to Shanghai, I found its sights, sounds and atmospheres totally different from my memory. The old Shanghai of elegance and deference has been eradicated. There is no doubt that Shanghai is rich and its people are living well, but it has also lost its charm and character. Shanghai has changed and so has Hong Kong. So has every city, in fact, and the world, for that matter… ’ - Rebecca Pan

1979年中國改革開放，在隔絕西方世界三十年後重又打開大門。隨之而來的是1980年代在社會、文化和思想上的鬆弛與活躍。來自西方的文學、音樂、影視等等流行文化，以及各種消費產品都紛紛進入中國，而香港則是這條交流路徑中最重要的轉譯者和傳播者。

Following the economic reform of 1979, China, for the first time in 30 years, opened its borders up to the Western world. The ensuing decade saw an influx of Western literature, music, television, film, and popular culture, as well as consumer goods. During this time, Hong Kong assumed an important role in exchange and dissemination.

雙城記中的人生閭丘露薇

CHAT六廠的這個展覽，有不少潘姐姐私藏的剪報、相片和書信，當中有兩樣東西特別吸引我。一張「慶祝中國人民共和國成立三十五週年」國慶專場演出的節目單。那場演出是在1984年十月舉行，

當時的我，在上海讀初中。我很清楚的記得，那一年的中央電視台春節晚會，第一次出現了來自香港的歌

手。很多年後才知道，原來這背後有政治因素的考量。當時關於香港前途的中英談判出現轉機，在經過了四輪談判的膠著之後，英方做出讓步。在這樣的大背景下，央視決定邀請香港歌手。這裡面的象徵意義在於，香港同胞終於回到了祖國懷抱。

閭丘博士在加入學術界前，在電視新聞媒體工作了20年。她採訪了許多重大國際新聞，包括阿富

汗反恐戰爭、伊拉克戰爭、阿拉伯之春、印尼海嘯、日本地震、四川地震等。她也負責報導中國政

治新聞，採訪了多位中國國家領導人。她在鳳凰衛視擔任過記者、主持人、評論員以及新聞總監。

而當潘迪華和鮑培莉的名字出現在這張節目單上，在可以容納一萬多名觀眾的上海體育館演出的時候，距離中英正式簽署聯合聲明，不到兩個月的時間。看節目單上兩個人的演出曲目，除了各自都有一首比較愛國的主旋律歌曲之外，其它的曲目並沒有政治色彩。其實不單單是這兩位來自香港的歌手，整個節目單

上，主旋律佔了非常小的比例，這在後來是無法想像的。站在玻璃櫃前，透過這張泛黃的節目單，我看到的，是那個開放的八十年代。

還有一張，是上海女子中學的畢業證書。十八歲的潘姐姐一頭捲髮，穿著旗袍的樣子，看上去和現在一些還保留穿長衫傳統的香港中學生很像。潘姐姐離開後的上海，很快，旗袍作為被批判的資產階級生活方式

的一部分，被社會徹底擯棄了，即便是內地改革開放之後，沒有學校把旗袍作為學生制服。反而在香港，這個從1920年代開始在香港的華人學校流行、源自上海的傳統，被保留到現在。

在我面前的兩張照片，一個是十八歲，在上海出生長大的潘姐姐，笑容中對未來充滿了期待，那個時候，

抗戰結束，內戰開始，但是這些都比不上後來政權的更替，對個人帶來的生活衝擊。照片上的那個年輕上

海女子，看不出來有經歷過太多的戰爭之苦，但是那一刻的她，應該不會知道，自己之後會離開上海，更不會知道，原本只是暫居的香港，會成為自己的家。另外一張，是已經走出上海，走過世界很多地方，在香港

取得自己歌唱事業頂峰，用香港人的身分回到上海，年過半百的潘姐姐。這讓我很好奇，當她站在上海體

育館，被一萬多名上海市民圍繞著表演的時候，和自己許久未見的父親、陌生的弟弟妹妹們見面的時候，

她是怎樣的心情？那個時候的她，覺得自己是上海人，還是香港人？但是至少可以確定，面對自己長大的，但是已經變了模樣的故鄉，一定有很多感慨。

1949年，很多家庭和個人做出選擇，潘姐姐和她的媽媽，選擇了離開，不管是出於怎樣的理由，如果留下

來，那麼她的人生就會重新書寫。至少有一點可以肯定，這個世界會少了一個歌手，不會有一個女子，在世界各地穿梭巡迴演出，成為第一個在印度、以色列、黎巴嫩等國家演出的中國人。而能夠成就這一切，正是因為她在香港，也因為她在上海渡過的歲月。上海和香港，在我的心目中，一直有著分割不開的命運，

也許是因為，我也是出生成長於上海，也是在香港，算是取得了事業上的成功。因為如果不是因為香港，

我不可能有機會可以去全世界那麼多的地方，可以見證和紀錄那麼多的歷史事件，可以讓自己回看走過的路的時候，覺得也算是有一些東西可以留下來。

十九世紀五十年代，因為相對比較公平的貿易環境，上海取代廣州，成為中國最大的通商口岸，大量的外

國投資和外國人，讓上海在二十世紀二、三十年代成為了中國的金融中心，文化和娛樂中心。那個時候的香

港也是通商口岸，由於英國當時的發展中心是上海，雖然匯豐銀行同時在上海和香港開業，但是香港依然只是一個人口不多的漁村。也因為這樣，1949年從上海來到香港的人潮，不僅僅帶來了資金，也帶來了

文化娛樂方式，北角成為了富有文藝氣息、人才汲汲的「小上海」。那些夜總會，正是潘姐姐開始了歌唱生涯的地方，只不過，在上海，她是夜總會的顧客，而在香港，她成為了台上的表演者。

1949年之後，香港取代了上海。六、七十年代的東南亞經濟騰飛，香港成為亞洲四小龍之一，而那個時候的上海，正在經歷著無休無止的政治運動；八十年代中國內地對外改革開放，香港作為中國對外的窗口，香港成為國際金融中心，雖然之後，總有一種說法，上海將會替代香港，但是因為制度的不同，讓上海的

雄心，一直停留在口號。只是，此刻的我，對於這兩個城市未來的命運，有著巨大的不確定，但是有一點可以肯定，那就是此刻，兩個城市許多人，有種同病相連的感覺。

上海和香港的發展，都是得益於開放，還有公平的環境，不管是潘姐姐，還是我自己，都是這種開放和公

平的得益者，當然，還有很重要的一點，在城市命運轉換的時候，我們做的選擇，證明我們選擇了正確的

方向。只是，和時代相比，人是那麼的渺小，更多的時候，是被時代推動著的身不由己，根本沒有為自己做出選擇的力氣。

正因為這樣，我總是覺得，作為得益者，把自己的人生，分享給陌生人，那是一件了不起的事情，因為可以讓其他人看到和聽到，原來，一個人的人生，除了自己的努力，不可避免的會有運氣的成分。因此，應

該會讓更多的人思考，如何讓這個世界變得更好，讓個體的無奈和無助變的少一些，讓更多的人，可以像潘姐姐那樣，活出精彩的人生。

Life in A Tale of Two Cities Luwei Rose Luqiu

This exhibition at the Centre for Heritage, Arts and Textile displays many newspaper clippings, photos and letters collected by the beloved Rebecca Pan. Within this personal collection two things drew my attention in particular. The first is a programme leaflet for the National Day special performance ‘Celebrating the 35th Anniversary of the People’s Republic of China’. It was held in October 1984 when I was a junior high school student in Shanghai. I remember very clearly that was also the first year a singer from Hong Kong appeared on the CCTV Spring Festival Gala show. It was only many years later that I realised there were political considerations behind this. At the time, the Sino-British negotiations concerning the future of

Dr Luqiu had been a television journalist for 20

Hong Kong had reached a turning point. After four deadlocked rounds, the British side had just made

years. She has covered many major international

concessions. It was against this larger context that CCTV decided to invite the singers from Hong Kong.

events ranging from the wars in Afghanistan

The symbolic meaning was — Hong Kong compatriots have finally returned to the embrace of the motherland.

and Iraq, Libya and Gaza to the tsunami in Indonesia, the earthquake in Japan and China.

Moreover, when the names Rebecca Pan and Pao Pei Lee appeared on the programme leaflet for a

She also reported on Chinese political news

show at the 10,000-seat Shanghai Indoor Stadium, it was less than two months before China and

and interviewed several Chinese leaders. Before

Britain would officially sign the Sino-British Joint Declaration. Looking at the programme repertoire,

moving to academia, she worked as presenter,

except for each Hong Kong singer performing one relatively patriotic song, there were no political

commentator and executive news editor for the

overtones in the song choices. In fact, this was not just the case for the two Hong Kong singers. The

Phoenix Satellite Television in Hong Kong.

main National Day themed performance accounted for only a very small part of the entire programme, which later would be unimaginable. Standing in front of the vitrine, what I saw looking through this yellowed programme was the opening up of the 1980s. The other item is a graduation diploma from a girls’ school in Shanghai. 18-year-old Rebecca has a head of curly hair and dons a qipao. She looks like some of today’s Hong Kong high school students who still maintain the tradition of wearing cheongsam. Soon after Rebecca left Shanghai, qipao was criticised for being part of the capitalist bourgeois lifestyle and was completely renounced by the society. Even after ‘reform and opening-up’, no school adopted qipao as their uniform. In Hong Kong, on the other hand, qipao has been popular at Chinese schools since the 1920’s — a tradition that originated in Shanghai and is still maintained today. In front of me are two photos, one of which is an 18-year-old Rebecca who was born and raised in Shanghai. Her smile is full of anticipation for the future at a time when the War of Resistance against Japan had ended and the Chinese Civil War had already begun. These events, however, would not impact individuals’ lives as much as the later regime change of the government. The young Shanghainese girl in the picture does not look like she has experienced much suffering during the war. At that moment, she had no way of knowing that she would leave Shanghai, or that her temporary stay in Hong Kong would become permanent.

In the other picture, Rebecca is already more than half a century old. She has left Shanghai and

certain though, which is that the people of the two cities are subject to a similar predicament.

travelled all over the world. At the peak of her Hong Kong singing career she returned to Shanghai as a person from Hong Kong. This made me very curious. How did she feel standing and performing in the

The development of Shanghai and Hong Kong can be credited towards an historically open and

Shanghai Indoor Stadium while being surrounded by more than 10,000 Shanghai citizens. What were

fair environment. Both Rebecca and myself benefitted from such a set of circumstances. Of course

her emotions when meeting her father, whom she had not seen in such a long time, and her younger

there was another very important factor. When our city changed, we both made choices that later

brothers and sisters who were, by then, strangers? Did she feel like she was from Shanghai or from

proved to be wise. However, our individual lives are still subject to the currents of the times. At the face

Hong Kong? It is at least certain that when she faced her childhood home that was also completely

of historical change and paradigm shifts, individual efforts can feel so feeble.

changed, she must have been overcome by emotion. As a beneficiary of the circumstances, I have long felt that sharing one’s life story with others is In 1949, many families and individuals were faced with life-changing decisions. Rebecca and her

a worthwhile endeavour. Sharing allows others to understand that insofar as there is individual effort,

mother chose to leave. No matter what their reasons were, had they stayed, Rebecca’s life story would

there will always also be an element of luck. I hope this provokes reflection and thought, enabling

have been written differently. One thing is for sure, this world would have lost one gleaming star. There

people to observe a life more realistic and vibrant, as Rebecca Pan does.

would not have been a woman who travelled all around the world to become the first Chinese person to perform in India, Israel, Lebanon and other countries. Rebecca was able to achieve all of this, exactly because she was in Hong Kong and because of her youth in Shanghai. In my eyes, the two cities have long shared an inseparable destiny; perhaps because I too grew up in Shanghai and achieved career success in Hong Kong. Because, if it weren’t for Hong Kong, I would not have had the opportunity to visit so many places and to witness and record historic events around the globe. When I look back on the path I’ve taken, I feel a sense of having left a mark. In the 1850s, due to increased equal trade measures, Shanghai replaced Guangzhou as China’s largest treaty port. Large-scale investment from overseas and a surge of foreigners helped Shanghai become China’s financial, cultural, and entertainment hub in the 1920s and 30s. While Hong Kong was also a treaty port, the British’s focus was on bringing up Shanghai. Although HSBC (The Hong Kong and Shanghai Banking Corporation) began operations in Shanghai and Hong Kong at the same time, Hong Kong was still a small fishing village with a sparse population. In 1949, when a wave of migrants came to Hong Kong from Shanghai, they not only brought capital, but also their style, culture, as well as entertainment. North Point developed a richly artistic and theatrical atmosphere, earning the nickname ‘Little Shanghai’. It was in those very nightclubs that Rebecca started her singing career. In Shanghai, she had been a nightclub patron, but in Hong Kong, she became a performer on stage. After 1949, Hong Kong replaced Shanghai. In the 1960s and 70s, Southeast Asia’s economy took off and Hong Kong became one of Four Asian Tigers. At the time, Shanghai was experiencing relentless political movements. Later in the 1980s, mainland China witnessed reform and opening-up. Hong Kong, as China’s gateway to the world, became an international financial centre. Although there has always been speculation that Shanghai will replace Hong Kong, due to systemic differences, such ambition may never be realised. At this time, I feel uncertain about the future of these two cities. One thing is

展覽中的一小部分空間被塑造成Rebecca的家庭空間。空間的佈置靈感來源於阿飛正傳片段中旭仔養母的房間。

The design of a part of the exhibition space is inspired by the home of Yuddy’s adoptive mother, a character as seen in a segment from the film Days of Being Wild.

在這個空間裡散落著的是潘迪華生活中的點點滴滴：常用的傢俱、親友贈送的畫作、母親設計的地毯、父

親早年的相片、母親參與拍攝⎾東西一堂⏌的影像片段、與好友沈殿霞（肥肥）、羅文、周潤發、林青霞、林嘉欣等人的合影等等。與母親的相依相伴，對兒子的深情與遺憾，與圈內外新老朋友的交流互動，組成了潘迪華生命中另一個重要的部分。

Scattered throughout this space are impressions from Rebecca’s everyday life, including items of household furniture, paintings gifted by her family, carpets designed by her mother, portraits of her father, footage of her mother partaking in the documentary East West Island, as well as photographs with close friends such as Lydia Shum, Roman Tam, Chow Yun Fat, Brigitte Lin and Karena Lam. The intimacy shared with her mother, sentiments of regret toward her son, interactions with friends new and old, on and off stage — fragments capturing yet another important dimension of Rebecca Pan.

寫給潘姐姐 - 陳頌騏： 2003年，命運讓我遇到潘姐姐，我的錄影機從此為她亮起燈來。轉眼二十載，時代的更迭卻永遠拽塌不了潘迪華女士的風彩。鏡頭裡外的潘姐姐都並不止於一位藝人，她更是一個無所不談的老朋友；是大眾的精神與信仰，總擔演著黑暗中的旭日。

這次展覽有幸綜合了姐姐這二十年來的精華片段，純粹且真誠，一一呈現於觀眾眼前。願各位享受這趟時光之旅。

From Chan Chung Ki to Rebecca Pan: Fate brought me to Rebecca in 2003 and my camera has been rolling for her ever since. 20 years have passed in a blink of an eye, but her charm has never diminished. Whether on or off

camera, she is far more than just an artist. She is a lovely friend whom you can talk to about

anything. She helps uplift people and give them faith, just as the morning sun that drives away the dark night.

In the exhibition, video highlights of Rebecca over the last 20 years are presented. Audiences are invited to embark on a journey through time together.

為了無法復原的過去：潘迪華作為流浪的轉喻李庸宇

李庸宇是一名策展人，在香港中文大學擔任文化研究助理教授。他的研究興趣主要在於現代韓國

媒體批判與文化研究、視覺研究、亞洲當代藝術、展覽與策展研究、東亞流行文化、戰時日本和戰後韓國思想史、後殖民記憶和史學。

懷舊的文化政治在後疫情時代，香港當代藝術界呈現的其中一個倒退跡象，就是懷舊的自我再現（ n o s t a l g i c self-representation），這與香港回歸中國及其後的民主化失敗有關。這類懷舊例子包括：聚焦港人最

鍾情歌手兼演員張國榮悲劇人生的香港文化博物館「繼續寵愛・張國榮紀念展」；試圖彌補香港女性歷

史上缺乏代表的大館「性別與空間」展覽；追溯宋懷桂（1937-2006）從1980至2000年代如何改變中國藝術、時尚和流行文化面貌的M+「宋懷桂：藝術先鋒與時尚教母」展覽。

當代對黃金時期香港流行文化的消費，以及透過發掘文獻檔案來重建昔日光輝，兩者均是創意產業熱衷依戀的核心主題，其中歷史建構出的「97前香港」之連續性、再表達和脈絡斷裂，往往作為一種鬼魅般

的、典型現代性的形式，被複雜地呈現，並持續引起爭辯。詹明信 (Fredric Jameson) 認為「懷舊」成為了

後現代晚期資本主義的影像生產中的一個主要特徵，以風格化的意涵來挪用過去，並透過光鮮的影像來

呈現「過去性」（pastness）。「懷舊」曾一度被視為社會文化的先決條件，現已成為形容香港病態般戀舊的關鍵詞。香港觀眾在視覺文化中所追求的，是另一種模式的現代性，能夠消除「對已逝之物的懷舊憧憬」和「對當代文化未竟之事的渴望」兩者混淆的現代性。在這種諷刺的敘事分裂中，檔案文獻彌合了歷史中的空白情節。

上述的展覽雖已利用各種帶有懷舊色彩的文物檔案，但在敘事上卻缺乏連貫性。凱瑟琳‧羅素(Catherine

Russell)在其2018年出版的《檔案學》（Archiveology）中，研究了如何透過檔案聲音和圖像的重用、回

收、挪用和借用，從而為想像過去和未來提供空間。當代視覺文化往往透過拼湊檔案片段，為歷史記憶帶來新鮮的視聽結構，然而假如這種技術的轉向能大大影響檔案實踐的美學和政治，那麼檔案學作為當前展覽製作的嶄新視聽語言，又會產生什麼？展覽空間中的文化人物往往會被重製和加工，原始檔案亦因而

常被錯誤呈現，令檔案本身的獨特靈光（aura）蕩然無存。亦因此，展覽總是刻意營造一種懷舊調子，按時間順序敘事，喪失任何主觀思索或觀眾共鳴。

乍看之下，CHAT六廠的展覽「她能在黑夜，給我太陽——獻給潘迪華」似乎與其他以檔案為本的展覽有著

相同的策展和策略，以香港文化傳奇潘迪華為主題，展示其橫跨電影、流行音樂、歌舞表演和音樂劇的演藝生涯；然而在以上所能想象的展覽敘事之外，此展覽還試圖結合檔案文獻和當代藝術，藉此描繪現代

女性的追求、對傳統的重新定義以及文化資本的動態變化。展覽探索一位現代女性的跌宕人生，卻把懷舊幻想之間的界線模糊化，令觀眾從本體性不確定的位置，透過持續懷緬的流行表述形式來感受。這些

軌跡與香港人的漂泊人生以及檔案文獻的命運彼此重疊，現在散落於藝術館的不同角落。就連意思模糊的展覽標題「她能在黑夜，給我太陽」也是香港作為當代隱喻的一次「重寫」（palimpsest）。

漂泊心靈的地形

即使事業不如預期，她於追夢路上卻展現了創新和堅持。這位天后的歌聲和其短暫的事業，在唱片和聲音

在展覽的起點，觀眾先會看到潘迪華的兩幅照片，一幅是她廣為人知的銀幕形象，另一幅則展現此刻暮年

失的非物質檔案，將幽靈從媒體和科技中解放出來，同時堅持從檔案文獻中追尋這位女性主體的生命韌

的她，頸上披著白波點黃圍巾。兩幅照片中的她面露一抹神秘微笑，象徵著香港娛樂史的豐饒多彩。潘迪

華最著名的電影演出來自1990年王家衛執導的《阿飛正傳》，她飾演的同名角色是主角旭仔（張國榮飾）的強勢養母——曾是交際花的她，對自己親手帶大的養子有著錯綜複雜的情感瓜葛，甚至拒絕透露旭仔生母的身份。在電影裡，她用自己的本名短暫出場，本身作為來自上海移民的她，與影中的移民母親角色相

之中得以留傳，成為一種幽靈般的媒介，連接過去與現在。展廳二的「音樂與文化」致力於還原一些已丟力。潘迪華以天后歌手之姿重現人前，這個閃耀輝煌、另一面的她，似乎令人回想起其他被壓抑的習俗、自我東方化的表演性、創作的實驗和前衛的衝動，以及她與香港的現代性彼此衝突之下產生的各種社會文化深意。

互交錯，傳達出模糊的母性，突破了懷舊過去的模式。這兩幅潘迪華的神秘相片與展覽的主要敍事線互相

變身感悟

演藝極限，而其如此的演藝生涯，觀眾可以穿梭場館各區，得以探知。

德希達在其1995年的著作《檔案熱：佛洛伊德學派印象》（Archive Fever: A Freudian Impression）中，把

如果說母性主題和香港回歸是展覽的主要敘事線，並以潘迪華在回歸前後的代表形象展示出來，那麼展

表了一種執著慾望，渴望返回缺失記憶的起源；此外亦必須在審視檔案的同時思索未來，一個過往被忽視

交織，把她隱秘的個人生活與其熱切的文化先驅角色兩者相連——作為一個漂泊的流浪者，她竭力突破

覽前半部的文獻檔案，就是以潘宛卿（潘迪華原名）全面的個人歷史為基礎，精妙地點出這位「摩登女孩」的誕生。這位來自上海的純真少女搖身一變，成為嚮往舞台的時尚摩登女孩。身穿黃色旗袍的小女孩

依著母親、騎著木馬，目睹上海在不同霸權下的各種動蕩。這些文獻檔案，證明了潘迪華註定蛻變成摩登

人對檔案的強烈慾望，形容為一種為了彌補記憶缺失的衝動，並稱之為「檔案熱」。從本質而言，檔案代

的脈絡會重現、會被納入整體意義系統之中的未來。本次展覽從策展的角度正回應了如何在檔案中重現未被保存的記憶、如何讓無法檔案化的過去，成為尚未到來的未來記憶這樣的問題。

女孩的漂泊人生，既非出於己願，亦非歷史因果，而是基於兩者共存的閾限空間（liminal space）——在影

鄭得恩的多重影像聲音裝置委託作品《寧可像蛇》，改編自中國著名民間故事《白蛇傳》，從探索潘迪華

了中國傳統與西方現代文化，而展覽亦透過一系列檔案資料，生動展現了她搖擺不定的矛盾人生。在日本

劇界帶來巨大文化迴響，而這個展覽亦搜羅了當年演出的實物服裝以及報紙文章等各種原始材料。根據

片中，她唱的正是上海歌曲「兩條路上」。潘宛卿出生於上海現代化的文化氛圍之中，這個成長環境揉合

佔領和幾次內戰期間，她隨著數十萬上海人於1949年移居香港，當時的政治、藝術和文化精英均紛紛湧入這個城市，而她於1953年陳煥文執導的電影《白衣紅淚》中，開始使用藝名「潘迪華」。

狄雪圖曾經指出，「他者」是歷史學的幻影，是其尋求、崇敬和埋葬的對象。潘宛卿決定放棄真名，改以

潘迪華作為藝名，於1957年創造了另一個自我形象，成為一名歌舞表演歌手，自1959年起推出了多張LP唱片。在1920和30年代的繁華上海，歌舞廳和夜總會大量湧現，催生了獨特的中國爵士樂環境，融合了活潑

的美式大樂隊節奏與中國傳統民俗曲調。上海被譽為「東方巴黎」，專屬外國富人的高級俱樂部林立，一直到1920年代初，女性公開登台、演出或唱歌仍被視為大膽行徑，因其往往充滿性暗示。在此期間，像周

的複雜性格出發，連結各件檔案展品。1972年，香港首部音樂劇《白孃孃》上演，為主流西方百老匯音樂《亞洲雜誌》1972年的報道，潘迪華自資18萬美元，率領42名表演者組成活力十足的劇團，把經典民間傳說《白蛇傳》現代化，以音樂劇形式搬上舞台。然而即使投放如此心力，《白孃孃》在當時的香港卻引起爭

議，有人讚她大膽創新，為經典故事注入新生命，有人卻認為這種做法不倫不類，有失體統。在這齣實驗

音樂劇中，潘迪華扮演妖精「白蛇」一角，展現出義無反顧、勇往直前的特質。鄭得恩以創作回應潘迪華當年的前衛詮釋，突顯她的創新視野，叩問這個經典故事該如何在當代社會重新演繹。此外，當年拍下的

局部表演錄像片段亦於最近被發掘，並以「白孃孃：一朵遲桂花」之名在M+展出。從這個意義上，本次展覽希望把檔案定義為一種對未來的「問責」，而不僅只作保存和貯藏。

璇般的歌手出現，才令現代女性在中國文化界的知名度大大提升。

潘迪華在其歌唱生涯中，見證了全球音樂產業的各種巨變。她的作品產量甚豐，一共發行了16張LP唱片

以及大量EP和單曲，在1960年代更因頻繁出國演出，足跡遍及歐美、中東以至東南亞等地，獲得「旅行歌手」的綽號。她視宣傳香港為己任，以自己的音樂向西方觀眾介紹自己為東方明珠。倫敦EMI在1964年與

她簽約，發行了幾首單曲，包括用英文演唱的中國曲調「Will the Orange Blossom Smile」和「My Hong Kong」。到了1960年代，由於粵語流行音樂崛起，加上「英倫入侵」的音樂浪潮席捲全球，潘迪華的音樂

並沒取得商業成功，於是她重返香港，再次以中文演唱，其中包括代表作「情人橋」和「給我一杯愛的咖啡」。

結語

參考文獻

「世界上有一種鳥是沒有腳的。

Acland, Charles R. (2007) Residual Media.

它只可以一直的飛呀飛，

飛得累了便在風中睡覺，

這種鳥一輩子只可以下地一次，那一次就是它死的時候。」《阿飛正傳》（1990）

在其波瀾起伏的事業生涯中，到底潘迪華當年為何選擇王家衛電影來宣告她的幕前回歸，這依然是一個

謎。在1972年的《白孃孃》與1990年的《阿飛正傳》之間，是接近二十年的隱密私生活——她的表演並沒

Minnesota, University of Minnesota Press. Certeau, Michel de. (1988) The Writing of History. New York, Columbia University Press. Asia (1972) ‘Chinese Opera Goes Pop’, 12(21), pp.3-7. Asia Magazines, Ltd.

有繼續。這個展覽透過描繪《阿飛正傳》中潘迪華的養母形象，繞過了她個人珍藏和各種影像所象徵的悲

Derrida, Jacques. (1998) Archive Fever:

台上台下與老朋友的相處。這個空間散落了她日常生活中的私人物品：似乎受到《阿飛正傳》啟發的家居

Chicago, University of Chicago Press.

劇人生。展館的迴廊B區，展示了潘迪華個人生活的點滴，包括她與母親的親密關係、對已故兒子的懊悔、擺設、家人送贈的畫作、母親設計的地毯、父親的相片。這些並置的個人檔案與其演藝形象（各種戲劇化女性生命的零碎呈現），由於其不可避免的瞬時性和易重複性，即便在建立潘迪華個人形象的檔案中，這些物品本身就擁有此般「能力」，也令人難以從概念上作出定義。

《阿飛正傳》的旭仔經常被暗指為「無腳的鳥」。而潘迪華飾演的養母所渴望的母子束縛，在電影現實中

永不存在。她所說出的「這是為了得到你生母的消息」正激起了這種反覆出現的母性命題。可旭仔不曾在

A Freudian Impression. Trans. Eric Prenowitz.

Jameson, Fredric. (1990) Culture: The Cultural Logic of Late Capitalism. In Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, Duke University Press.

母子對話中直接提及生母，甚至還告訴她如果不說穿的話兩人可以得過且過這一生，做得最錯的就是讓

Jones, Andrew F. (2001) Yellow Music: Media

開，並留下一句：「我也不會讓她看見我的臉。」在旭仔前往菲律賓前，銀幕出現了潘迪華最後的特寫鏡

Jazz Age. Durham, Duke University Press.

他知道自己有個親生母親，縱使他得以發現這位生母的存在。旭仔被生母拒絕見面後，他毫不回頭地離頭，那難以揣測的神情，轉而暗示了現實中香港回歸中國的前夕——一位根源缺失的母親歸來了。潘迪華象徵著「永遠失去的母親」，轉喻一般代表著與其上海根源分離的流浪者，令這不會飛的鳥兒步履蹣跚。

德希達提及的「檔案可能性」（archival possibility），不僅指預測或預期可能發生之事，亦包括不可能的

Culture and Colonial Modernity in the Chinese

Luo, Liang. (2021) The Global White Snake. Michigan, University of Michigan Press.

可能性。檔案往往與記憶和紀錄、歷史和體制密不可分。在具有重大體制意義的文化記憶與被遺棄/遺忘

Russell, Catherine. (2018) Archiveology: Walter

「檔案式未來」的意義，從而暗示檔案的涵義其實處於在一種遲到（delayed arrival）狀態，而我們因此

Duke University Press.

的個人記憶之間，CHAT六廠展覽「她能在黑夜，給我太陽——獻給潘迪華」中的檔案文獻展現了什麼是得以延續一種可能性，打開一個過去從未實現、但仍「即將到來」的未來。

Benjamin and Archival Film Practices. Durham,

Schaefer, William. (2017) Shadow Modernism: Photography, Writing, and Space in Shanghai, 1925-1937. Durham, Duke University Press.

For the Sake of an Unarchivable Past: Rebecca Pan as a Metonymy of Drifting Yongwoo Lee

Cultural Politics of Nostalgia One of the regressive signs embedded in Hong Kong’s post-pandemic contemporary art scene is a nostalgic self-representation related to its return to China and the consequent political failure of democratisation. Examples of this nostalgia include the Hong Kong Heritage Museum’s Remembering Leslie Cheung, which focused on the tragic life of the city’s most beloved singer-actor; Gender & Space at Tai Kwun, which sought to redress the underrepresentation of Hong Kong women in gendered spaces; and Madame Song: Pioneering Art and Fashion in China at the M+ museum, which focused on the life of Song Huai-Kuei (1937-2006), who changed the landscape of art, fashion, and

Yongwoo Lee is a curator and assistant

popular culture in China from the 1980s to the 2000s.

professor of cultural studies at the Chinese University of Hong Kong. He focuses on

The contemporary consumption of golden-era Hong Kong popular culture and the reconstruction of

critical media and cultural studies of modern

a glorious past through archival unearthing is a central topos of passionate attachment in the creative

Korea, visual studies, Asian contemporary art,

industries, where the continuities, rearticulations, and ruptures of a historically constituted pre-1997

exhibition & curatorial studies, popular culture in

Hong Kong are manifested complexly and contested as a form of spectral prototypical modernity.

East Asia, intellectual history of wartime Japan

Fredric Jameson has argued that nostalgia became one of the essential features of late capitalist image

and post-war Korea, postcolonial memory, and

production in the postmodern era, appropriating the past through stylistic connotation and conveying

historiography.

‘pastness’ through the glossy qualities of the image. Once seen as a sociocultural precondition, nostalgia has become a key phrase to describe Hong Kong’s pathological yearning for the past. What Hong Kong audiences value in visual culture is a different mode of modernity that can erase the conflation of a nostalgic longing for what it has lost with the yearning for what contemporary culture has never achieved. In this ironic cleavage of narratives, the archive bridges the empty storyline of history. The aforementioned exhibitions lack coherence in their narrativisation, despite using various artefacts with a nostalgic touch. Catherine Russell’s book Archiveology (2018) studies how the act of reusing, recycling, appropriating, and borrowing archival sounds and images gives scope to envision the past and future. Fresh audiovisual structures of historical memory are often created by piecing together archival fragments in contemporary visual culture. However, if this technological shift has significant implications for both the aesthetics and politics of archival practices, what can it be engendering if archiveology is indeed the new language of images and sounds in current exhibition-making? The original archive is often misrepresented through the re-production and re-polishing of cultural figures in exhibition spaces, resulting in a loss of the archive’s unique aura. Thus, a nostalgic tone is deliberately evoked through a chronological narrative without any subjective contemplation or audience resonance. At first glance, CHAT’s exhibition With the Sun, She Quells the Night – A Tribute to Rebecca Pan appears to share a curatorial and strategic objective with other archive-centred exhibitions in its focus on the life of Rebecca Pan, an iconic figure of the Hong Kong cultural scene, whose career spanned

film, pop music, cabaret performance, and the musical. With precise speculation regarding the exhibi-

ambivalent life path. Having navigated Japanese occupation and Chinese civil wars, Pan Wan Ching

tion narrative, however, the exhibition tries to portray the pursuit of modern women, the redefinition of

joins the hundreds of thousands of Shanghainese who migrated to Hong Kong in 1949, when political,

tradition, and the dynamics of cultural capital through a combination of archives and contemporary art.

artistic, and cultural elites flocked to the city. She uses her stage name, Rebecca Pan, for the first time

This exhibition explores the turbulent life of a modern woman’s passage by blurring the line between

in A Broken-Hearted Nurse (1953, dir. Chen Huan-Wen).

nostalgic fantasy, which the audience feels through popular representations of ongoing remembrance from an ontologically uncertain position. These loci overlap with the drifting life of Hongkongers and the

As Michel de Certeau has noted, the Other is the phantasm of historiography, the object it seeks,

fate of the archive, now scattered throughout the museum. Even the exhibition’s ambiguous title (她能在

honours, and buries. After deciding to become Rebecca Pan by abandoning her real name, she began

黑夜，給我太陽; lit. ‘She can give me the sun in the dark’) is a palimpsest for Hong Kong as a metaphor for the contemporary.

her professional career by creating an alter-ego as a cabaret singer in 1957, releasing numerous LPs from 1959 on. During the 1920s and 1930s, cabarets and nightclubs in bustling Shanghai gave rise to a distinctive Chinese jazz scene that fused lively American-style big band rhythms with traditional Chinese

Topography of a Drifting Mind

folk melodies. Shanghai, known as the Paris of the East, boasted exclusive clubs targeting affluent foreigners. Until the early 1920s, it was deemed daring for women to publicly perform on stage, act, or

At the start of the exhibition, the audience is greeted by two portraits of Rebecca Pan. One displays her

sing, since such performances were often rife with sexual connotations. Singers like Zhou Xuan were

familiar image on the screen, while the other portrays her adorned with a yellow scarf dotted with white

crucial in increasing the visibility of modern women in the Chinese cultural scene during this time.

circles, revealing her ageing present. In both portraits, she smiles enigmatically, embodying the rich history of Hong Kong entertainment. One of Rebecca’s most renowned roles is her eponymous

Throughout Rebecca’s singing career, she witnessed drastic changes in the global music industry. Her

appearance in Days of Being Wild (1990, dir. Wong Kar-wai) as the manipulative adoptive mother of

prolific tenure yielded 16 LPs, numerous EPs, and singles. During the 1960s, Rebecca even gained the

Leslie Cheung’s character, Yuddy. As a prostitute, she has a complex emotional relationship with the

nickname ‘Travelling Singer’ for her frequent overseas performances throughout Europe, the United

boy she raises as her son and abstains from revealing the identity of his biological mother. Using her real

States, the Middle East, and Southeast Asia. She considered it her obligation to promote Hong Kong

name in these brief sequences, she conveys an equivocal instinct of immigrant Hong Kong motherhood

and introduced herself as the Pearl of the Orient to Western audiences through her music. As a result,

that goes beyond nostalgia by overlapping with her real identity as a Shanghai transplant. These two

EMI London signed her in 1964, releasing several singles such as ‘Will the Orange Blossom Smile?’ and

enigmatic portraits of Rebecca intertwine with the exhibition’s central storyline, connecting with her

‘My Hong Kong’, both sung in English but with Chinese melodies. However, given the rise of Cantonese

veiled personal life and fervent role as a cultural innovator striving to push the limits of her entertainment

popular music in the 1960s and the international sensation of the British Invasion, Rebecca’s music did

career as a diasporic drifter, which audiences can navigate through various sections of the venue.

not achieve commercial success. As a result, she returned to Hong Kong to sing in Chinese once again, performing iconic melodies such as ‘Rendezvous on the Bridge’ and ‘Essence of Love’.

If the theme of motherhood and the return of Hong Kong form a central narrative of the exhibition featuring Rebecca’s representative images before and after its handover, the archives in the early part

Even if she was not as successful as she expected to be, Rebecca demonstrated innovation and

of the exhibition astutely highlight the emergence of the Modern Girl, based on the comprehensive

persistence in her pursuit of stardom. The voice and ephemeral labour of the diva, restored on records

personal history of Pan Wan Ching, Rebecca Pan’s true identity. The life of an ingénue from Shanghai

and in sound, serve as spectral conduits linking past and present. Gallery 2’s Music and Culture section

undergoes a remarkable transformation into a stylish Modern Girl who aspires to stardom. A girl in a

exhibits several endeavours and aspirations to recuperate what has been lost as an intangible archive,

yellow cheongsam is closely bound to her mother and rides a rocking horse as a child, taking in the

disentangling spectrality from media and technology, all while persistently pursuing the resilience of the

panoramic view of turbulent Shanghai during successive periods of various political hegemony.

female subject’s life from the archive. The resurgence of Rebecca Pan as a diva—the glittering alter-ego

The archives provide evidence that Rebecca’s drifting life inevitably led her to transform herself into

of herself—appears to recall different suppressed customs, the performativity of self-orientalisation,

a Modern Girl, neither through her own will nor as a consequence of history but rather in the liminal

compositional experiments and avant-garde impulses, and the various sociocultural implications she

spaces they share—video footage shows Rebecca singing a Shanghainese song, ‘Two Roads’. Pan

produced in friction with the modernity of Hong Kong.

Wan Ching, born in the cultural milieu of Shanghai’s modernisation—a blend of traditional Chinese and modern Western influences—is depicted through a range of archives that amply illustrate her

Archival Epiphany through Transformation

tragedy symbolised by the artist’s personal collection and photographs through the portrayal of Yuddy’s

In his work, Archive Fever: A Freudian Impression (1995), Jacques Derrida describes the amplified de-

intimate relationship with her mother, her remorse over her late son, and her interactions with old friends

sire for the archive as manifesting a compulsion to compensate for the absence of memory, known as

on and off the stage, are featured in the Arcade B section of the museum. The space is dotted with

‘archival fever’. Essentially, the archive represents an obsessive desire to return to the origins of absent

personal artefacts from Rebecca’s everyday life, including home furnishings that seem to have been

memories. Additionally, it is important to examine archives in relation to the future, where previously

inspired by Days of Being Wild, paintings gifted by her family, a carpet designed by her mother, and a

overlooked traces may resurface but have yet to be incorporated into the overall system of meaning.

portrait of her father. These personal archives, juxtaposed with theatrical personae (fragments

The exhibition provides a response to the question of which memories that have not been preserved

of dramatised woman’s life), are difficult to define conceptually for their inevitable transience and

ought to be restored in archives. It also suggests a curatorial answer to the question of how the unar-

susceptibility to repetition, although they possess an inherent ‘ability’ within the archive that acts as a

chivable past should be represented as a memory of the future that has not yet been arrived at.

self-differentiating engine.

Enoch Cheng’s commissioned multichannel audiovisual installation, Just Like Snakes, connects archival

In Days of Being Wild, Yuddy frequently alludes to the footless bird. The maternal bondage Rebecca

displays by investigating the intricacies of Rebecca’s personalities, adapting the well-known Chinese

yearns for is forever absent in cinematic reality. She acts as a stimulus for this recurring motif of moth-

folk tale, ‘The Legend of the White Snake’. Accompanying various original archives, from actual

erhood when she says, ‘It’s to get information about your birth mother.’ However, Yuddy never directly

costumes to newspaper articles in the exhibition, the representation of the first Hong Kong musical,

refers to his biological mother in conversation with Rebecca. Instead, he tells her that they could pass

Pai Niang Niang, in 1972 offers a remarkable cultural reverberation of the mainstream Western

away alongside each other and that it was wrong to have ever known he had a genuine mother, even

Broadway musical scene. According to Asia magazine (1972), Rebecca invested $180,000 of her

when he discovers her existence. After the biological mother declines to meet him, he departs without

own money to modernise a classic folktale for a musical theatre format and led a dynamic ensemble

regret, saying, ‘I won’t expose my face to her either.’ The concluding close-up of Rebecca’s unfath-

of 42 performers. Despite these efforts, at the time, Pai Niang Niang sparked controversy in Hong

omable expression, appearing just before Yuddy departs for the Philippines, diverts into the actuality

Kong. Although some praised her attempt to rejuvenate a classic tale as inventive, others perceived it

of Hong Kong on the eve of its return to China—the return of the real mother, whose source is already

as inappropriate and disrespectful. Rebecca takes on the role of the non-human White Snake in her

absent. Rebecca, as an object signifying the mother lost forever, represents the metonymy of drifters

experimental musical, where she embodies fearlessness and audacity. Enoch Cheng responds to Pan’s

severed from their Shanghai origins, causing the flightless bird to falter.

adoptive mother in Days of Being Wild. Archival fragments of Rebecca’s personal life, including her

avant-garde interpretations by highlighting her innovative artistic vision and asking how this classic tale can be adapted to contemporary society. Furthermore, a fragmentary film recording of the presentation

Derrida’s concept of archival possibility involves not only predicting or anticipating the possible but also

was uncovered and has since been presented at the M+ Museum under the name ‘Pai Niang Niang:

the possibility of the impossible. The archive is inextricably linked to memory and record, to history and

The Last Osmanthus Blossom’. In this sense, the exhibition wishes to define the archive as a form of

institutions. Between institutionally significant cultural memories and abandoned/oblivious personal

‘accountability’ for the future rather than mere preservation and storage.

ones, the archive in CHAT’s exhibition With the Sun, She Quells the Night – A Tribute to Rebecca Pan conveys the meaning of archival futures, thereby suggesting that the meaning of the archive is in

Coda

a constant state of delayed arrival. Through it, we can inherit the possibility of a future that never materialised in the past but which is still ‘to come’.

‘There lived a footless bird. This bird knew nothing but flying. When the bird got tired of flying, it leaned into the wind and fell asleep, and the only day in its life that it touched the ground was the day it died.’ Days of Being Wild (1990) Amid the ups and downs of her career, it remains unclear why Rebecca Pan chose Wong Kar-wai to herald her return. A shrouded private life bridged the nearly two-decade gap between Pai Niang Niang (1972) and Days of Being Wild (1990). The show did not go on. The exhibition bypasses the personal 100

Reference List Acland, Charles R. (2007) Residual Media. Minnesota, University of Minnesota Press. Certeau, Michel de. (1988) The Writing of History. New York, Columbia University Press. Asia (1972) ‘Chinese Opera Goes Pop’, 12(21), pp.3-7. Asia Magazines, Ltd. Derrida, Jacques. (1998) Archive Fever: A Freudian Impression. Trans. Eric Prenowitz. Chicago, University of Chicago Press. Jameson, Fredric. (1990) Culture: The Cultural Logic of Late Capitalism. In Postmodernism, or, the Cultural Logic of Late Capitalism. Durham, Duke University Press. Jones, Andrew F. (2001) Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham, Duke University Press. Luo, Liang. (2021) The Global White Snake. Michigan, University of Michigan Press. Russell, Catherine. (2018) Archiveology: Walter Benjamin and Archival Film Practices. Durham, Duke University Press. Schaefer, William. (2017) Shadow Modernism: Photography, Writing, and Space in Shanghai, 1925-1937. Durham, Duke University Press.

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從青澀稚嫩，到成熟穩健；從明豔動人的夜總會歌手，到心懷大志的藝術家。潘迪華的人生幾番蛻變，從動盪不安的時代一路走來，披荊斬棘，一往無前。

蛻盡芳華，唯留下對世界最溫柔的祈願，一如記憶中母親身著的旗袍和白蘭花的香氣。

現在的潘姐姐依然常常伏案書寫，對世界，對年輕人，她還有很多很多話想說……

A wide-eyed perspective turned self-assured conviction; a glamorous cabaret singer transformed into an artist with a vision. The life of Rebecca Pan is one distinguished by transformations with not a moment of quiet, always forging ahead despite tumultuous circumstances. In the fleetingness of change, only wishes – the gentlest being the recollection of her mother’s qipao and her scent of white magnolia – are left behind to the world. Rebecca is now often found hunched over her desk, writing as much as she can, what she has left to say to the world, and to the generations to come.

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一條千年修煉的白蛇，為了報答書生許仙前世的救命之恩，化為人形並嫁與他，與一條青蛇精小青結伴，

和許仙生活在一起。金山寺的法海和尚說服許仙在端午節時讓白蛇精喝下雄黃酒現出蛇形，卻將許仙嚇

死。白蛇精上天庭盜取仙草將許仙救活。法海和尚將許仙騙至金山寺並軟禁，白蛇同青蛇一起與法海鬥法，水漫金山寺，卻因此傷害了其他生靈。白蛇精觸犯天條，在生下孩子後被法海收入砵中，鎮壓於雷峰塔下。

這就是中國民間傳說《白蛇傳》最基本的故事框架。流傳至今已有多個版本。1972年三月，基於這個故事背景的香港第一部國語音樂劇《白孃孃》上演，由潘迪華自費投資製作，擔當主演，於樂宮戲院上演一個月六十場。

《白孃孃》在當時的香港極具爭議。有的讚她在傳統中結合創新，大膽突破；有的則批評她不中不西，不倫不類......

A thousand-year-old white snake spirit returns to the mortal world to express gratitude to a young scholar named Xu Xian for his life-saving grace in a previous existence. The spirit transforms herself into human form to marry him, bringing with her a green snake spirit. Fa Hai, a Buddhist monk of Jinshan Temple persuades Xu Xian to let his wife drink realgar wine during the Dragon Boat Festival, upon which her true form is revealed, and Xu Xian dies of shock. The white snake travels to the heavens to redeem a magical herb that might save Xu Xian. Fa Hai orders that Xu Xian be locked inside the Jinshan Temple. In a battle between the white and green snake against Fa Hai, a flood inundates the temple, wreaking harm upon innocent lives. The white snake is punished and forever confined to the Lei Fung Pagoda. This is the basic narrative of the Chinese folklore The Legend of the White Snake, variations of which are too numerous to count. In March 1973, Rebecca Pan produced and starred in Hong Kong’s first musical in the Chinese language based around this same legend, titled Pai Niang Niang, and also provided the investment. The show played 60 times at Princess Theatre that month. Pai Niang Niang was controversial in Hong Kong at the time. While some found her effort to revitalise a traditional story commendable and innovative, others found it out of place and contemptuous.

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經歷1940年代中國政治社會劇變而移居英國殖民地的潘迪華，既擁有深厚的中國

傳統思想底藴，亦被西方文化深深影響。在1960年代於世界各地旅行演出的過程中，強烈的民族意識令她渴望讓中國的傳統音樂被以西方易於接受的方式傳遞給世界。這亦促使她在醞釀十年後於1972年推出香港首部華語音樂劇《白孃孃》。

Having experienced the political turmoils of 1940s China and a subsequent relocation to Hong Kong under British rule, Rebecca Pan’s upbringing was deeply influenced by both Chinese traditions and Western thoughts. As she performed around the world in the 1960s, Rebecca Pan’s pride of her roots cemented a desire to bring traditional Chinese music to the West. A decade later, she produced Pai Niang Niang in 1972, Hong Kong’s first Chinese musical.

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寫給潘姐姐 - 鄭得恩：在《寧可像蛇》正式開拍之前，潘姐姐和我聊到：「可惜我們相逢恨晚，否則你可以拍《潘迪華傳》，我第一幕已想好了，你可以拍我在化妝間準備上場, 之後由其他人扮演我。」

其實，這一幕我們未認識前也想過。潘姐姐一直努力地扮演好自己每一個角色，她挑演白孃孃難道不就是為了她那義無反顧、勇往直前的離經叛道精神? 即使在七十年代作先行者，在港演出首個華語音樂劇

《白孃孃》，虧大本也無悔，因她就是要在那個時代革新。她不單要在音樂和表演上講求新意，還特地為白蛇這個人物的性格添加了一份責任感，讓她成為有思想的角色。

我第一次跟潘姐姐會面便跟她說，我

這個影像聲音裝置的目標就是要直面她那與時俱進、時刻省思當下的無畏無懼精神，思考白孃孃這個被反覆傳頌的白蛇傳，在今天應如何與時代對話。她非常贊同這個做法。 From Enoch Cheng to Rebecca Pan: When I was about to begin shooting Just Like Snakes, Rebecca told me: ‘Too bad that we’ve only met now, otherwise you could also make my biopic. I’ve already got the opening scene in mind: I would be getting ready in the dressing room. For the remaining film, you could have other people play me.’ I had also got this scene long before we met because to me, Rebecca Pan has always played all her roles in life to her utmost. When she adopted the Chinese classic role – the White Snake in her avant-garde musical Pai Niang Niang in 1970s, she presented a heroine who was fearless and audacious, just like herself. For this first Chinese musical in Hong Kong, she lost a huge amount of money on her investment, but she had no regrets. Apart from introducing new music and performance in this experimental project, Rebecca also made a new change to the story to respond to her time. She created the white snake as a responsible person who could think and reflect. I remember during my first meeting with Rebecca, I told her my vision for this audio-visual installation was to capture her adventurous spirit and daring genuineness to every moment in life as a white snake, and think about how the age-old folklore can talk to contemporary audiences now. She approved of my intention.

《寧可像蛇》拍攝現場

Video shooting for Just Like Snakes

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鄭得恩

《寧可像蛇》 2023

錄像裝置、服裝 21’03”

尺寸可變

CHAT六廠委託作品《寧可像蛇》這個多重影像聲音裝置是藝術家鄭得恩經過長期與潘迪華對話、研究《白蛇傳》文本及潘氏生平所啟發而創作的。他既拆解《白蛇傳》這民間傳說在不同時代的結構，同時把潘迪華面對時代的革新

精神代入白蛇角色裡面。他選取多種當代元素，從網絡文化到時裝設計、音樂製作到裝置安排，都從不同

切入點回應傳統文化、潘姐姐的美學思維、以及二十一世紀的時代精粹，目的是為叩問在這個時代，故事該怎樣說。

Enoch Cheng Just Like Snakes 2023 Video installation, costume 21’ 03” Dimension variable Commissioned by CHAT The multichannel audio-visual installation Just Like Snakes was inspired by the artist Enoch Cheng’s long-term conversation with Rebecca Pan, his research on the Chinese folklore The Legend of the White Snakes, and Pan’s life. Cheng deconstructs the different versions of the legends presented in different eras, and merges Pan’s avant-garde vision into the character of the white snake. He also employs various contemporary elements, from internet culture to fashion design, from music production to the set-up of the installation. In response to traditional culture, Rebecca’s aesthetics and philosophy, and the essence of the 21st century, the artist ultimately asks how the story can be told in this day and age.

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《寧可像蛇》工作人員 Just Like Snakes Staff Credits 演員 Cast

製作 Production

Pornrat Damrhung (Aui)

Nuttaphan Yamkhaekhai (Nut)

白娘娘 Lady White : 說書人 Writer :

Jaa Phantachat (Jaa) 年輕白娘娘 Young Lady :

Waywiree Ittianunkul (Way) 男人 Man :

監製 Producer :

編劇 Screenwriter : 鄭得恩 Enoch Cheng

第一副導 1st Assistant Directors :

Noramon Wanichkamolnant (Asia) Saroot Techasiripaiboon (Most)

Tua

第二副導 2nd Assistant Director / Choreographer :

年輕男人 Young Man :

製作經理 Production Managers :

Pradit Prasartthong Phitchaphong Nakhayuenyongsuk (Vodka) 群眾 Crowd :

Rattanachoke Kuncharoen Orranat Meeklai

Pimnipa Warattaseth

Phitchaphong Nakhayuenyongsuk (Vodka) Pratthana Uttarotai (Nhong)

Sistpat Vadhchararojana (Tapoo) 攝影指導 Director of Cinematography : Parinee Buthrasri (Nan)

Warisara Wongwatthanakorn

攝影B機 B Camera Operators :

Pimchanok Janyai

Pongthorn Thongwattana (Gong)

Patit Viwatmanuskul Satapat Ninsakun

Chukiat Wongsuwan (Champ)

第一攝影助理 1st Assistant Camera : Weerawit Suriyathitipat (Sun)

Pisit Dechawattanapong (Master) Watchara Taweekot (Bom)

攝影器材 Camera Equipments : Lifeboat Camera

機械師 Electricians : Kwang Hmankanna Santi Klinkuhlab

攝影 Photographer :

Chi Wai@Moon 9 image 服裝及形象設計 Garment Design & Stylist : 鄭得恩 Enoch Cheng

裁縫及形象 Tailor & Stylist :

Wattanapong Pimsamsee (Marque) @ Kookped Studio

Nuttapong Dintong

服裝助理 Costume Assistant :

副機械師 Best Boy Electrician :

車工 Seamstress :

Thanakorn Wu

Sarawut Saodee (Ton)

燈光貨車司機 Lighting Truck Driver : Weerapol Tongrad 機械師 Grip Man :

Sujinda Ardwichai Makha Khundee

副機械師 Best Boy Grip :

Yuttana Putaraksa (Poo) Aphisit Wansri

Pimpha Wongkham (Pim)

Sampao Pimpan (Pao) @Kookped Studio

Chanpen Namkudrua (Chan) @Kookped Studio 化妝 Makeup Artist :

Pareeyawee Likityingwara (Beam) 髮型 Hair Stylists :

Bom Sittichai Amparat Phutada Chutawaree

Thotsaphon Sirisawat 道具 Propsmaster :

Wachara Kanha (Guide)

第二攝影助理 2nd Assistant Camera :

機械貨車司機 Grip Truck Driver : Chittawon Kosaikanont

道具助理 Props Runners :

數字影像技師 DIT :

燈光及機械器材

Piyawat Penjumras

Aissara Kongsuk (Boom) Taskorn Sornprasith (M) 視頻 Video Man :

Yanvarut Gansang (Best) 122

攝影B機助理 B Camera Assistants :

Lighting and Grip Equipments : VS Service

Somratchanee Changmai-ngam Nawapol peachpolshep

Pomkorn Kulchanaborom

後期 Post-production 剪接1 Editor 1 :

Natiya Suvanasuthi (Fai)

混音 Final Mix : Vanilla Sky

控訴 (Protest) 混編 Remix : Rasmus Nordholt-Frieling

剪接2 Editor 2 :

音效顧問及錄音混音 Sound Post-Production

永遠的微笑 (Forever Smile)

鄭得恩 Enoch Cheng

Nakorn Kositpaisal

Wuttipong Leetrakul (Off)

Niti Sittichai (Tua)

動畫及數碼影像 Animation /CG : Sarun Leelasuwonvong (Benze) Rada Suttiwongwattana 調色 Colorgrade : White Light Post

後期製作 Post Producer : Pobmek Junlakarin 調色師 Colorist :

Jirayu Jangwattanapong 副調色師 Assistant Colorist : Surawitch Boonmawongsa 網絡剪接 Online Editor : Komsak Sritoomma

數據經理 Data Management : Lucksamee Sabchuensuk

Supervisor and Re-Recording Mixer : 對白編輯 Dialogue / ADR Editor :

配音 Voice Actor :

聲音設計及音效剪接 Sound Designers and

影音顧問 AV Consultant :

Burapon Maneekart

Sound Effects Editor : Suchada Supromin

Vvzela Kook

Chulayarnnon Siriphol (Ke)

Kampopopo@AudioMartHK

Saryttanee Sirisomboon (Nurze) Headline

Sarun Artrit

Hamhiran Sridamrong 聯合監製 Co-Producer : Palika Prasansombat 字幕Subtitling :

Narumon Jaisaard (Gig) 音樂監製 Music Producer : 鄭得恩 Enoch Cheng

工作室行政 Studio Admin :

鄭得恩 Enoch Cheng

Onnarin Sopitakraisit

Zoiee Yung

Foley Editors :

原創音樂 Original Score :

客戶服務 Client Service :

場地 Location : Chawalit Granite

擬聲音效 Foley Artists, Foley Recordists and

Jaruwan Phandhu-fung Sunant Paruck

重編 Rearrangement :

特別鳴謝 Special Thanks

Dome Aromdee

崑崙山鬥法 (Kunlun Mountain) 混編 Remix : Dome Aromdee

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關於藝術家 About the Artists

潘迪華 Rebecca Pan 潘迪華，原名潘宛卿，1930年於上海出生，1949年移居香港，是中國流行音樂樂壇的一位傳奇人物及跨文

化拓荒者。27歲踏入歌壇，29歲便灌錄第一張LP唱片。她是首位採用「中曲西詞」的歌手，出版了16張黑膠大碟。1964年，潘迪華與倫敦EMI唱片公司簽約，成為首位簽約該公司的香港歌手。她除了是首位遠赴

歐、美及中東地區表演的華人歌星外，亦多次應邀宣傳香港。1967年，無綫電視《歡樂今宵》啟播，潘迪華更是當時的台柱之一。

1 97 2 年，潘迪華投資製作並主演了香港首部國語音樂劇《白孃孃》，故事改編自中國家傳戶曉的

「白蛇傳」，此劇由盧景文執導，顧嘉煇作曲及編曲，突破傳統戲曲形態，在當時極具前衛實驗意義。潘迪華晚年亦因在王家衛電影中客串演出而以經典的上海女性形象為人熟悉。

Rebecca Pan was born in Shanghai in 1930 as Pan Wan Ching, relocated to Hong Kong in 1949 and has established herself as a cross-cultural pioneer of Chinese popular music. Known to be the first singer combining Chinese tunes with Western lyrics, Pan began her professional singing career at the age of 27, recorded her first LP within two years and has released 16 records. In 1964, Pan became the first Hong Kong singer to sign with EMI London. As the first Chinese singer to perform in Europe, North America and in the Middle East, Pan has promoted Hong Kong on numerous occasions. In 1967, Pan served as an inaugural host of the TVB programme Enjoy Yourself Tonight. In 1972, Pan invested and performed in Pai Niang Niang, Hong Kong’s first musical in the Chinese language adapted from the classic Chinese folklore ‘The Legend of the White Snake’. Directed by Lo King Man and with music composed by Joseph Koo, the musical was a landmark performance that broke many traditions. In recent years, Pan has been featured in the films of Wong Kar Wai, where she has assumed various roles exemplifying a woman hailing from Shanghai.

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鄭得恩 Enoch Cheng

陳頌騏 Chan Chung Ki

藝術家鄭得恩，獲倫敦大學金匠學院創意書寫碩

陳頌騏是一位駐香港和倫敦的電影導演，畢業

活動、劇場、寫作、時裝、表演及教育。作品探討

及衛星電視等製作特效和電視電影，亦為AXN、

士。他的創作媒介包括影像、裝置、策展、舞蹈、

不同領域及傳統的邊界和連結之處，關注的命題

包括歸宿、旅程、精神健康、記憶、離散等。近年作品包括《將來留座》（2022年，香港大會堂60 周年誌慶節目）及《Handle with Care》（2022 年，紐約藝術設計博物館）。

於香港理工大學。他曾為香港電台、精萃工作坊

鳳凰衛視、香港漁農自然護理署及香港旅遊發展局等製作紀錄片。2013年，LEXUS與溫斯坦影業挑選五位創意導演拍攝一系列短片，陳頌騏從業

內一眾新晉創作人當中脫穎而出，作品《Pupil》在2013年於康城影展首映。

Artist Enoch Cheng received his MA in Creative

Chan Chung Ki is a film director based in

Writing at Goldsmiths, London. His practice

Hong Kong and London. He graduated from

spans moving image, installation, curating,

the Hong Kong Polytechnic University. Chan

dance, events, theatre, writing, fashion,

produced special effects and telefeatures

performance, and pedagogy. His works

for RTHK, Scorpio film, STAR TV. He also

explore the boundaries and connections

produced documentaries for AXN, Phoenix

between various disciplines and traditions,

Chinese Channel, the Agriculture, Fisheries

with recurrent themes of belonging, travel,

and Conservation Department of Hong Kong,

care, memory, migration etc. His most recent

and the Hong Kong Tourism Board. In 2013,

works include TO ARRIVE (2022, Hong Kong

chosen among the best emerging talents in

City Hall 60th Anniversary Performance) and

the industry, Chan was honoured as one of 5

Handle with Care (2022, Museum of Arts and

innovative directors to create a short film titled

Design, New York).

Pupil for Lexus and The Weinstein Company and which premiered at the Cannes Film Festival in 2013.

125

鳴謝 Acknowledgement

展覽創作團隊 Creative Team 潘迪華 Rebecca Pan

王慰慰 Wang Weiwei

特別感謝以下機構及個人對本次展覽的貢獻（以英文姓氏順序） With special thanks to the following organisations and individuals for their contributions to the exhibition

李勺言 Bruce Li

國泰航空 Cathay Pacific

陳頌騏 Chan Chung Ki

香港長衫協會 Hong Kong Cheongsam Association

鄭得恩 Enoch Cheng

視覺設計：梁子峰（studio-m）

Visual Design: Benny Leung (studio-m)

展覽研究員 Researchers 黃嘉鈿 Erica Huang

林卓瑤 Lam Cheuk Yiu 劉瑩瑩 Lau Ying Ying 李鎧而 Eilly Li

周昕豫 Claire Zhou

香港作曲家及作詞家協會 Composers and Authors Society of Hong Kong 康樂及文化事務署香港電影資料館

Hong Kong Film Archive, Leisure and Cultural Services Department 康樂及文化事務署香港歷史博物館

Hong Kong History Museum, Leisure and Cultural Services Department 滙豐歷史檔案部 HSBC Archives

港僑影業公司 Kong Chiao Film Company

寰亞影視發行（香港）有限公司 Media Asia Film Distribution (HK) Limited 香港電台 RTHK (Radio Television Hong Kong) 太古歷史檔案部 Swire Archives 陳恭敬 Albert Chan

陳彩玉 Priscilla Chan 陳朗晴 Sunnie Chan

鄭潔珊 Gindy Cheng

張志謀 Cheung Chi Mau 張西美 Edith Cheung 蔡志輝 Choi Chi Fai

傅雅君 Fu Nga Kwan

郭杏蓮 Kwok Hang Lin 林展民 MAN LAM

李頌詩 Lee Chun Sze Eunice 梁芷晴 Jenny Leung 盧燕珊 Lo Yin Shan Anthony Perry

蘇芷瑩 Karen So 森森 Sum Sum

126

CHAT 六廠團隊 (截至2023年6月9日） CHAT Crew (as of 9 June 2023) 高橋瑞木 Takahashi Mizuki 策展團隊 Curatorial Team

執行董事及首席策展人 Executive Director and Chief Curator

王慰慰Wang Weiwei

展覽及館藏策展人 Curator, Exhibitions and Collections

Associate Curator, Exhibitions and Collections (Heritage and Textiles)

李勺言 Bruce Li 謝詠琳 Maggie Tse 麥巧琳 Megan Mak 羅璧如 Eugenia Law

司徒萱庭 Claudia Szeto

梁輝文 Raymond Leung 梁長羚 Dorcas Leung 陳信騫 David Chan 文永亮 Dennis Man 林泳欣 Willis Lam

春山正 Haruyama Masashi 郭穎淘 Joyce Kwok

黃昭穎 Gabrielle Wong 馮可貝 Colbie Fung 吳啟峰 Ng Kai Fung

Paola Sinisterra 麥咏恩 Nicole Mak

展覽及館藏（文化遺產及紡織）副策展人

展覽及館藏高級館藏管理專員 Senior Registrar, Exhibitions and Collections 展覽及館藏策展助理 Curatorial Assistant, Exhibitions and Collections 共學及社區助理策展人 Assistant Curator, Learning and Community

共學及社區策展助理 Curatorial Assistant, Learning and Community 策展項目管理經理 Manager, Curatorial Programme Management

策展項目管理助理經理 Assistant Manager, Curatorial Programme Management

管理及營運團隊 Management and Operations Team 趙子珉 Chiu Tsz Man

營運及財務高級總監 Senior Director, Operations and Finance

袁建暉 Leo Yuen

行政助理主任 Assistant Officer, Administration

李盈慧 Stephanie Li 林秀蘭 Varia Lam

鄒詠婷 Ida Chow 溫志堅 Dominic Wan

曾曉彤 Cloris Tsang 潘嘉俊 Sam Pun 楊狄恩 Yeung Tik Yan

梁小鳳Ellie Leong

行政辦公室經理 Manager, Executive Office

行政助理主任 Assistant Officer, Administration 財務助理經理 Assistant Manager, Finance 營運經理 Manager, Operations

訪客服務主管 Supervisor, Visitor Experience 訪客服務專員 Associate, Visitor Experience

訪客服務專員（合約）Associate, Visitor Experience (Contract) 訪客服務專員（合約）Associate, Visitor Experience (Contract)

策展項目管理高級主任 Senior Officer, Curatorial Programme Management

品牌及傳訊團隊 Branding and Communications Team

創意製作助理經理（平面設計）

黃曉恩 Grace Wong

創意製作經理 Manager, Creative Production

Assistant Manager, Creative Production (Graphic Design)

蘇綽玲 Zon So

品牌及傳訊總監 Director, Branding and Communications

品牌及傳訊高級主任 Senior Officer, Branding and Communications

創意製作高級主任（數碼媒體）Senior Officer, Creative Production (Digital Media)

夥伴及發展團隊 Partnership and Development Team

創意製作高級主任（紡織）Senior Officer, Creative Production (Textiles)

創意製作高級主任 Senior Officer, Creative Production 創意製作行政助理（合約）

Administrative Assistant, Creative Production (Contract)

李家焯 Aidan Li

國際夥伴、發展及項目管理總監

麥紫琴 Mak Tsz Kam

夥伴及發展經理 Manager, Partnership and Development

Director, International Partnership, Development and Programme Management

創意製作技術助理（合約）Technical Assistant, Creative Production (Contract)

展覽製作技術員 Exhibition Production Technicians

紡織項目助理主任（合約）Assistant Officer, Textile Programme (Contract)

葉政宏 Nakamura Masahiro

紡織項目專員（合約）Textile Specialist (Contract)

蔡詠茱 Choi Wing Chu Belinda

黃慧心 Wong Winsome Dumalagan 邱永亮 Yau Wing Leung Thomas

127

數碼圖錄 Digital Catalogue

出版 Published by

編輯 Editors

李勺言 Bruce Li

王慰慰 Wang Weiwei 文字編輯 Copyeditors

Oliver Farry (P.6 - 9, 34 - 37, 94 - 101) 魏家欣 Luna Ngai (P.34 - 37) 楊添 Yang Tian (P.94 - 101) 麥巧琳 Megan Mak 設計 Design

梁子峰（studio-m）Benny Leung (studio-m) 撰稿 Contributors

鄭天儀 Tinny Cheng (P.44 - 47)

李庸宇 Yongwoo Lee (P.94 - 101) 李勺言 Bruce Li (P.34 - 37)

閭丘露薇 Rose Luqiu Luwei (P.84 - 87) 王慰慰 Wang Weiwei (P.18 - 21) 中文翻譯 Chinese Translation 魏家欣 Luna Ngai (P.94 - 101)

英文翻譯 English Translation

Carrie Cox (P. 18 - 21, 44 - 47, 84 - 87) 蔡哲珩 Choi Chit Hang (P.34 - 37) 攝影 Photograph Chris Lusher

展覽紀錄編輯 Exhibition Documentary Production Cstand Production

黃曉恩 Grace Wong

六廠基金會有限公司

Mill 6 Foundation Limited 荃灣白田壩街45號南豐紗廠CHAT六廠 CHAT/MILL6 Foundation

The Mills, 45 Pak Tin Par Street Tsuen Wan, N.T., Hong Kong T (852) 3979 2301

W www.mill6chat.org

E enquiry@mill6chat.org

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ISBN: 978-988-79608-8-1 2023年12月出版

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出版者的書面同意下，均不被授予任何許可複製、印製或以數碼、影印、攝錄等其他形式發佈數碼圖錄的任何內容。

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