Magazine 2025

晨興書院

雜誌

MAGAZINE NO.11 JUNE 2025

FEATURING Introducing the Morningside College Essay Competition Writing Between the Lines: Nathan Thrall, Israel and Palestine Healing People Through Music and Medicine

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CONTENTS

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LETTER FROM THE EDITORIAL BOARD

MC VIEW

Introducing the Morningside College Essay Competition 晨興書院散文比賽簡介

FEATURE

Writing Between the Lines: Nathan Thrall, Israel and Palestine

字裡行間的意思：Nathan Thrall、以色列與巴勒斯坦

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MC SPACE

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MC MEETS

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College Photography Competition 晨興書院攝影比賽

Healing People Through Music and Medicine 以音樂與醫術療癒人心

ALUMNI NEWS

晨興書院

雜誌 MAGAZINE NO.11

JUNE 2025

Dear Reader,

親愛的讀者：

In this issue, we are celebrating the winning works of the inaugural Morningside College Essay Competition and the annual Photography Competition, as well as welcoming a special guest for this year’s One Book Programme—Pulitzer Prize-winning author Nathan Thrall. You will also live through the experiences of talented Morningside students and alumni who have found success in various fields.

在本期雜誌中，我們將會一同欣賞首屆晨興書院

Creativity and curiosity are the uniting forces of the Morningside Community. From expressing oneself through art to writing about some of the world’s most complex issues, this edition highlights a plethora of human talent that only scratches the surface of our multifaceted community.

We look forward to seeing our community members’ new and old projects come to fruition next year.

創意與好奇心代表著晨興書院的凝聚力。無論是透

Thank you for your continued support!

Morningside Magazine Editorial Board

MORNINGSIDE MAGAZINE. Published annually by Morningside College. Editorial Office: Morningside College, The Chinese University of Hong Kong, Shatin, New Territories, Hong Kong.

Tel: +852.3943.1406. Fax: +852.2603.6159.

Publication of material in MORNINGSIDE MAGAZINE does not necessarily indicate endorsement of the author’s viewpoint by the magazine, Morningside College, or The Chinese University of Hong Kong.

MORNINGSIDE MAGAZINE reserves the right to edit and, when necessary, revise all material that it accepts for publication. Unsolicited artwork will be published at the discretion of the editor.

KEEP MORNINGSIDE UP-TO-DATE! Update your contact information, or submit news for the next edition to gemc@cuhk.edu.hk

散文比賽以及年度攝影比賽的得獎作品，同時歡 迎今年「一本書計劃」的選書作者兼普立茲獎得主 Nathan Thrall 蒞臨本書院。我們亦將會帶你走進一 眾才華洋溢的晨興學生及校友的故事，讓大家認識 他們在不同領域中的卓越成就。

過藝術表達自我，抑或書寫出世界錯綜複雜的議 題，今期雜誌細說的每個不凡經歷，只是我們晨興 書院多元化背景裡的一隅。我們期待在來年見證各 位的成就，讓這份精神一直延續下去。 感謝各位一直以來的支持！ 晨興書院雜誌編輯部

晨興書院雜誌

由晨興書院每年一度出版。編輯室

地址為香港新界沙田香港中文大學晨興書院。 電話+852.3943.1406

傳真+852.2603.6159

雜誌內刊載的文章內容純屬作者及受訪者的個人意 見，並不代表或反映本雜誌、晨興書院或香港中文 大學的意見及立場。 晨興書院雜誌保留隨時刪減、修改雜誌內容的權利。 編輯部有權決定是否刊登及修改來稿。 讓晨興掌握最新資訊！請透過 gemc@cuhk.edu.hk 更新你的聯絡資料或來稿。

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VIEW

INTRODUCING THE MORNINGSIDE COLLEGE ESSAY COMPETITION 晨興書院散文比賽簡介

Over the past years, Morningside College has hosted many renowned writers of narrative nonfiction, including Robert Fisk, Peter Hessler, Lulu Miller and, most recently, Nathan Thrall. In the spirit of inquiry and scholarship, Morningside College is thrilled to announce a new, university-wide essay competition open to all CUHK undergraduate students, the first iteration of which was held this year. Students were encouraged to submit their original narrative nonfiction essays of between 1,000 and 2,500 words in English on the theme of ‘Soundscapes’. The theme was selected in conjunction with the Photography Competition. We are pleased to present the winning essay, titled ‘Life Notes’, by Nalini Dhiman.

About the judge Karen Cheung is a writer from Hong Kong. She is the author of The Impossible City: A Hong Kong Memoir, which was longlisted for the Andrew Carnegie Medal for Excellence in Nonfiction and named one of the best books of the year by The Washington Post and The Economist. She has written for The New York Times, Feeld Magazine, The Los Angeles Review of Books, The Oxonian Review, The Rumpus, and other publications. She has an MA in Creative Writing (New Prose Narratives) from Royal Holloway, University of London.

評審簡介 Karen Cheung 是一位來自香港的作家，著有《The Impossible City: A Hong Kong Memoir》，該書曾入圍卡內基獎章最佳非虛構作品， 並被《華盛頓郵報》及《經濟學人》評選為年度最佳著作之一。她亦曾於 《紐約時報》、 《Feeld Magazine》、《洛杉磯書評》、《牛津人評論》、 《The Rumpus》等多份刊物發表著作。她擁有倫敦大學皇家哈洛威學院創意寫 作（新敘事散文）碩士學位。

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過去數年，晨興書院曾邀請多位著名敘事性非虛構 作品作家蒞臨，包括 Robert Fisk，Peter Hessler， Lulu Miller 以及最近的 Nathan Thrall。本着探索與 學術精神，本年度晨興書院為此舉辦了第一屆全校 散文比賽，並開放予所有中大本科學生參加。我們 邀請學生以英文遞交原創敘事非虛構散文，篇幅為 1,000 至 2,500 字，並以「聲境」為主題，與同期的攝 影比賽互相呼應。 在此，我們欣然向大家呈獻本屆的得獎作品 —— Nalini Dhiman所撰寫的《Life Notes》。

LIFE NOTES by Nalini Dhiman

First Place Prize

Our brains are constantly chronicling life through five distinct channels — sight, sound, touch, taste, and smell. But memory is selective because it only captures fragments of our sensory storm. Of all these sensory imprints, it’s the acoustic memories that seem to echo longest in my chambers of recollection. Each sound is a key that unlocks not just the memory of the noise itself but the entire moment in which it existed.

Thus, when I close my eyes and think of childhood, it is not the images that come but the sounds. These ghosts arrive uninvited and they carry with them entire worlds of context and emotion. Thinking of my father’s gentle “Neha? I’m home!” resurrects not just his voice, but our brown door framing his dark blue shirt, my joy at his arrival mingled with sudden panic over forgotten chores. In that moment lives the scent of his cologne, the race to his embrace, and my brother and I competing to share our day’s stories.

Scientists tell us that sensory memories last mere milliseconds as fleeting impressions that fade unless our attention anchors them into something more permanent. But some sounds demand attention without reason; they carve themselves so deeply into our consciousness that they become part of our inner landscape. Let me take you through some of the chapters in my life that have been randomly marked by these acoustic bookmarks.

In Gurgaon, electrical signals from sounds moved differently than they do here. The walls were thick, we were close to the ground, but somehow every noise found its way through. Morning began with the pressure cooker’s whistle, four sharp whistles that meant rajma or chole were on the way, and my mother’s favourite bhajan. I used to be bothered by the bhajans, but later I realized how it made me feel. As the house filled with positivity, steel utensils would clang against each other in the kitchen. It created a metallic hypnotic orchestra that meant comfort and home.

From outside, the street vendors’ calls formed our daily soundtrack: the vegetable seller’s singsong announcement of fresh potatoes, tomatoes, and the seasonal vegetable, the neighbouring-village’s farmer who would send his son to ring our bell which became my cue to rush down with two vessels for fresh cow’s milk, the evening ice cream man's distinctive horn that had my brother sprinting to call mama for cash. When I think of the passage of time, even in a day, I think of how time was marked by these sound-stamps instead of clocks. You would know it is 4:00 pm when the ice cream vendor came, and 7:00 pm when the milkman arrived.

Have you ever stolen something? I have, and it was memorable. My brother and I became thieves of teenager-y whispers.

Pressed against the door's cool wood, we would eavesdrop on my sister’s daily secret phone call with her boyfriend. Her laughter, so syrupy and unfamiliar (and funny to us), would seep through the cracks as I motioned silently at my brother to take notes, and he scribbled furiously. I say furiously because I remember the sound of his pencil on my paper. We carefully harvested these secrets. Each word was meticulously catalogued in our Reporting Book, and all we asked for ransom from her was salt-kissed fries and premium 20-rupee chocolate. A fair deal if you ask me.

When the power went out, as it often did, the sudden silence would be broken by the collective groan of aunties in our building. The ceiling fans would slow to a stop, and we would begin to hear the smallest of things, such as the various birds outside and our deep breaths. Sometimes we would go stand in the shower until we heard the coughing of the generator motoring on.

Soon thereafter, a different kind of sound entered our lives. The beeping of hospital monitors, the squeak of nurses’ shoes on polished floors, the whispered consultations outside my father’s room… The landscape of illness has its own symphony, its own tones, and a painful recollection that I feel more in my heart than my brain. Time was marked by the sound of the pulse oximeter becoming as familiar as my mother's bhajans had once been. Its steady beeps were both tormenting and comforting; each electronic pulse was a reminder of illness, yet its very persistence meant that his heart was still beating.

That is why I found myself dreading the sound and praying for it in the same breath, I knew that its silence would bring a peace I was not ready to accept. When that silence eventually and suddenly came, it stretched across continents and was broken only by the empty roar of airplane engines descending into Hong Kong.

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MC VIEW

If I listen very closely, I can still hear the silence at this very moment.

The transition to Hong Kong came with its own soundscape, so different it felt like learning a new language (which is both a symbol and a fact). The apartment buildings were taller and the spaces between them narrower. The loud coolers in India now replaced by the air conditioners which hum silently. The trains in India used to roar, announcing themselves with pride, while the trains here come gently.

My high school classroom was my first experience of peace within the noise. Twenty teenagers speaking at once, their Cantonese rising and falling like ocean waves, but to my ears it was all white noise. I learned to float in this acoustic limbo which was punctuated only by the occasional word I recognized. “Ngo” (I) and “lei” (you) became little lifeboats in this sea of sound. Though they were brief, they left me triumphant for the day.

An “Om” found me later, during my university years, when the cacophony of life-academic pressure, family worry, career dilemmas-became too much. During my yoga practice I discovered that sound could come from within, that it could resonate through bone and tissue until my whole body became an instrument, a vessel. My mother resonated with this too.

In fact, it is due to her that I ever started my practice.

Sometimes, during video calls with mum, I could hear how empty the apartment felt, how her voice echoed slightly where it once had to compete with three children’s and one father’s chaos (a sound I would hate because it disrupted my studies, now I yearn to hear it again). The pressure cooker still whistles at home, but only for two now. There is a loud silence…

It lies in the space where my father's evening cough used to be. The missing sound of TV shows that once played in the background. The gap where my sister's outburst should be.

There are new sounds. My mother’s iPad playing Western TV shows she has now discovered, it is a proud moment indeed because once upon a time, English was just murmur to her. New sounds describing home… My brother’s iPad playing anime shows, the rice cooker’s electronic pings, my mother’s gentle chuckle when I tell her about my love life, then insane roars of laughter when I would tell her a funny story (this is my most favourite sound in the world), my brother’s “but when did I ask?” jokes. Nothing remains the same, everything changes, and though this change is different, I love it still.

As you know, there was a time when I felt an endless void inside me. It was a deafening silence that echoed despite a life that otherwise seemed to shine. Then I found my best friend. First came a nervous laugh during Transformers, it is the movie forever etched as the backdrop to his surprising confession. Slowly, the silence you could only find if you dipped your head deep into the well in my heart started transforming into something louder, more alive. Heartfelt laughter that bubbled up unexpectedly, and even some quiet tears as I finally acknowledged the echoes of my past. I found myself resting my head on his chest and listening to his heartbeat. It was a steady rhythm, one that my mother, too, was grateful for because, for a long time, she had yearned to hear me laugh again. My inner world was no longer mute but a vibrant soundscape of laughter, whispers, and the irreplaceable sound of a loving heart!

These sound-filled moments are just fragments of my story, bookmarks in a life that keeps turning pages. As my university years, filled with an orchestra of sounds I will forever be grateful for, draw to a close, I find myself wondering what sounds will fill the next chapter. Life has taught me that change is the only constant, and change brings with it new rhythms and melodies. The same way my mother’s bhajans gave way to hospital beeps, then emptiness transformed into the sound of ringing laughter, I know these familiar campus echoes will soon become memories. But I’m not scared. I am both nostalgic and curious. As these familiar sounds fade, new ones wait to be discovered. Isn’t that the beauty of life, though? It never truly falls silent, only transforms, and in doing so it creates space to experience new notes. Sometimes, the most beautiful melodies are the ones we haven’t heard yet.

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About the winner

得獎者 簡介

Nalini Dhiman is a final year student from Morningside College, studying Integrated Business and Business Administration.

Nalini Dhiman 為晨興書院應屆畢業生，主修工商管

Second place prize: Suan Yeon, Year 4, Journalism and Communication, Morningside College.

第二名得獎者：Suan Yeon，四年級，新聞與傳播

Third place prize: Ariel Migliorini Mercado, Year 4, Global Studies, Morningside College.

第三名得獎者：Ariel Migliorini Mercado，四年級，

理學士綜合課程。

學系，晨興書院。

全球研究學系，晨興書院。

Suan Yeon, Nalini Dhiman, Karen Cheung, and Ariel Migliorini Mercado at the Essay Competition Awards Ceremony.

Suan Yeon、Nalini Dhiman、Karen Cheung和 Ariel Migliorini Mercado 於晨興書院散文比賽頒獎典禮上合影。

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FEATURE

WRITING BETWEEN THE LINES: NATHAN THRALL, ISRAEL AND PALESTINE 字裡行間的意思：Nathan Thrall、以色列與巴勒斯坦

By Serag Heiba

Nathan Thrall’s nonfiction book, A Day in the Life of Abed Salama, was selected for Morningside College’s One Book Programme in 2024. Photograph by Umberto Costamagna.

Nathan Thrall所著的非虛構作品《A Day in the Life of Abed Salama》獲選為晨興書院 2024年度「一本書計劃」選書。 攝影：Umberto Costamagna

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Nathan Thrall doesn’t believe in objective journalism, but you would be hard-pressed to arrive at that conclusion from his writing, or from his interviews. He speaks carefully and selects his words precisely; he does not dither or embellish, but gives every question its due weight.

His recent Pulitzer Prize-winning book, A Day in the Life of Abed Salama, attained the kind of widespread success that would not be possible for a book on Israel-Palestine if it could not be defended as impartial against every conceivable claim. His previous book, a collection of essays titled The Only Language They Understand: Forcing Compromise in Israel and Palestine, is so thoroughly grounded in research that it has nearly as many pages of notes as it does pages of prose. By his own admission, Thrall lives in fear of factual error. But to mistake Thrall’s commitment to neutrality as apolitical—or less correct still, as idealization of objective journalism—is to underestimate how strongly Thrall feels about the injustices of occupation.

Nathan Thrall 不相信客觀新聞，但若單從他的文

Instead, his neutrality is dictated by a stance much more anachronistic in today’s world than a journalist who does not believe in objectivity.

“It sounds terribly naïve,” Thrall says in an interview published one day before the attacks of October 7, “but I do believe that the truth is its own value, and nobody is served by obfuscating the truth.” Thrall’s belief in the primacy of telling all sides of a story irrespective of political aims would be contested harshly the following day, but in the midst of the obliterating war that would ensue, it would prove to be his most effective tool in swaying readers.

制度的不公深感不滿的立場。

The Only Language They Understand Thrall was born and raised in California, the son of Soviet emigres to the United States who had moved there shortly before his birth. His family was a secular Jewish one, and he was raised just as much by his parents as his grandparents, to whom he was very close. Israel was far from Thrall’s mind when, as a fresh graduate of UC Santa Barbara with a bachelor’s degree in biology and a film editing job in Hollywood, the death of his grandmother in a car accident upended his life. In her memory, Thrall’s mother suggested he visit Jerusalem—a trip his grandmother had always wanted to make with him. Thrall took her suggestion and travelled to Jerusalem in 2004 on a free Birthright trip offered to young Jewish adults by the Israeli government. Thrall describes that experience as pivotal. Upon returning to the United States, he pursued a master’s degree in political science and headed right back.

“I hopped on a plane and moved to Israel-Palestine, and I started enrolling in courses in Hebrew and Arabic. I didn’t know anything about journalism—I showed up at the door of a newspaper saying: ‘I’m here, I’m ready to report, send me to the frontlines.’” It was the summer of 2006, and a war between Hezbollah and Israel had just broken out.

Instead of a post to the frontlines, Thrall was sent to cover Kaparot, a chicken slaughtering ritual practiced in Israel’s ultra-orthodox Jewish communities.

字或訪問，卻很難得出這個結論。他言談謹慎、措 辭精確；從不拖泥帶水、不加修飾，問的每條問題 卻鏗鏘有力。他最近憑著著作《A Day in the Life of Abed Salama》獲得普立茲獎。這本談及以色列與 巴勒斯坦議題的書籍，若無法在面對各種可能的質 疑時仍堅守中立，都不會取得如此空前的成功。他 的上一本著作，是一輯名為《The Only Language They Understand: Forcing Compromise in Israel and Palestine》的文章合集，背後做的研究極為扎 實，注釋部分幾乎與正文篇幅相當。Thrall 承認自 己對於事實錯誤抱有恐懼。但若果將 Thrall 對中立 立場的執著誤解為「去政治化」，或更不正確地說， 是對客觀新聞的理想化，便是低估了他對以巴佔領

相反地，他的中立態度，來自一種比相信客觀報 道的記者更為過時的信念。「這聽起來可能非常天 真。」Thrall 在 10 月 7 日襲擊事件發生前一天接受訪 問時曾表示：「但我確實相信，真相本身就是一種 價值，而掩飾真相對任何人都毫無益處。」Thrall 堅 信應該講述事件中各方的故事，而不考慮其政治目 的。雖然這種信念在訪問翌日遭遇到極大挑戰，但 在其後席捲而來的毀滅性戰爭裡，卻反而成為了說 服讀者的最有力工具。

《The Only Language They Understand》 Thrall 出生並在加州成長，是從蘇聯地區移居到美 國的移民後代，父母在他出生前不久便定居美國。 他的家庭屬於世俗猶太人派，他與父母和祖父母同 樣親密，都是由他們共同撫養長大的。在他自加州 大學聖塔芭芭拉分校畢業、獲得生物學學士學位並 在荷里活擔任剪接師時，以色列對他而言仍是個遙 遠的地方。直至祖母在一場車禍中離世，這徹底改 變了他的人生。為紀念祖母，母親建議他前往耶路 撒冷 — 這是祖母一直希望與他一同踏足的地方。 Thrall 接受了建議，在 2004 年參加了由以色列政府 為年輕猶太成年人提供的免費尋根之旅，前往耶路 撒冷。他形容這次經歷為人生轉捩點。回到美國 後，他攻讀政治學碩士課程，然後立即返回當地。 「我直接登上飛機搬到以色列接壤巴勒斯坦的地區， 開始報讀希伯來文和阿拉伯文課程。那時的我對新 聞一無所知，於是我走到報社門前說：『我來了，我 準備好了，派我去前線報導吧。』」那時是 2006 年夏 季，黎巴嫩真主黨正剛與以色列爆發戰爭。然而， Thrall 沒有被派往前線，反而被安排採訪 Kaparot — 一種在以色列極端正統猶太教社群中進行的活雞贖 罪儀式。

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FEATURE

Nathan Thrall and Professor Saskia Witteborn in conversation during a public talk organized by Morningside College on November 27, 2024.

2024 年 11月27 日，晨興書院舉辦公開講座，Nathan Thrall 與賽詩雅教授對談交流。

After a year with limited opportunities, Thrall found himself once more returning to the US to further his learning. He enrolled in a writer’s institute in New York on a fellowship and got a job as an editorial assistant at The New York Review of Books. “I was told there was a tradition of previous editorial assistants who’d wind up becoming writers for The New York Review and that I should go and ask the editor—Robert Silvers, this legendary figure—if I could write my own things while working there. I did that, and he shot me down in the most brutal way.” After one particular rejection, it took Thrall months to work up the courage to ask again. It was 2010 and the United States had recently begun training Palestinian security forces in the West Bank as part of an effort to enhance cooperation between Israel and the Palestinian Authority. When Thrall proposed he could write about that for The New York Review, he was finally given his chance.

Thrall travelled to Israel yet again, but this time to report on a topic of his own choosing. It proved to be a telling moment. “There was all of this enthusiasm in the West for the project, which was characterized as Palestinian state building from the ground up, but what I found was that this system was actually going to do the opposite of build up a Palestinian state—it was going to make the occupation easier for Israel.” Back in New York, the contrarian view presented in his article attracted the attention of the head of the Middle East Programme at the International Crisis Group—a global think tank that would employ Thrall for the next ten years, starting with a post to Gaza.

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然而，一年所獲得發揮的機會有限，Thrall再次返回 美國進修。他憑獎學金進入紐約一間作家學院，同 時在《The New York Review of Books》任職編輯助 理。「有人告訴我，以往有不少編輯助理都能成為該 刊的作家，建議我向總編 Robert Silvers — 這位傳 奇人物詢問我能否在任職期間撰寫自己的文章。我 真的去問了，他卻以極為殘忍的方式拒絕了我。」在 其中一次被拒後，Thrall花了數個月的時間才能重新 鼓起勇氣再次開口。當時是 2010 年，美國剛開始在 約旦河西岸訓練巴勒斯坦安全部隊，希望能推動以 色列及巴勒斯坦自治政府之間的合作。Thrall提議撰 寫有關這個合作項目的文章，最終被答應。 他再次前往以色列，但這次是為了報導自己所選的 議題。這亦成為了一個重要時刻。「當時西方對這個 項目非常感興趣，形容它為巴勒斯坦自下而上的建 國過程，但我發現這個制度實際上會對巴勒斯坦建 國造成相反的效果，它會令以色列日後更容易佔領 該國。」Thrall 回到紐約後，他在文章中提出的非主 流觀點，引起了國際危機組織旗下中東項目主管的 注意。這間全球智庫其後更聘請了Thrall，在其任職 十年的首站便派駐他前往加沙。

Gaza was Thrall’s first immersion into the complex politics that would shape his writing for the next decade. Although he was only there for six weeks in the fall of 2010 before moving to Jerusalem (where he has since lived), it accelerated the process of learning and unlearning that Thrall describes as his evolution. “There was a time where I thought like most liberal Zionists, that the conflict is primarily about Israel’s occupation of the West Bank and Gaza and not about 1948. Going to Gaza was like time travel, because it was like going back to an earlier phase of Palestinian nationalism.”

Thrall advanced quickly within the International Crisis Group, whose mission—to prevent deadly conflict by influencing policy—suited him well. (“I had long been concerned with the practical issue of how to change things,” he says.) His writing, analytical and non-ideological, would be read and cited at the highest levels where diplomacy is shaped, such as the United Nations Security Council and General Assembly, as well as by organizations such as Amnesty International and the Human Rights Watch. Thrall’s first book was a collection of essays he penned during this time. Bound by a soberingly level-headed thesis and backed by a wealth of research, The Only Language They Understand presented another contrarian argument: without sufficient force (primarily from the United States and Europe, but also from neighbouring Arab countries), the conflict would remain intractable because it was less costly for Israel to maintain the status quo—and the occupation—than to address it.

加沙是 Thrall 初次深入接觸複雜政治體系的地方， 當中的政治事件亦塑造了他日後十年的寫作方向。 雖然他只在 2010 年秋天短暫逗留了六星期，之後便 遷往耶路撒冷（他至今仍居住於此），這段時間卻令 他的學習與反思過程變得敏銳。他形容這是一段演 化過程。「我曾經與大部份自由派猶太復國主義者一 樣，以為這場衝突主要關乎以色列對約旦河西岸及 加沙的佔領，並與 1948 年發生的事無關。前往加沙 就像穿越時空，像走進了早期巴勒斯坦民族主義的 時代。」 Thrall 很快便在國際危機組織內冒起。這個機構的使 命是透過影響政策以防止出現致命衝突，這個理念 正好與他的目標契合。（「我一直關心如何實際地改 變現況。」他說。）他的寫作分析理性、超越意識形 態，被聯合國安理會及大會、國際特赦組織、人權 觀察等制定政策的高層機構所閱讀和引用。Thrall的 第一本書《The Only Language They Understand》 ， 是他於這段期間撰寫的文章合集。在一個冷靜理性 的論調及大量研究的框架下，提出了另一個與主流 意見相反的觀點：若沒有足夠力量（主要來自美國與 歐洲，亦包括鄰近阿拉伯國家），這場衝突將難以解 決，因為對以色列而言，維持現狀與持續佔領的成

And yet it was also around this time that Thrall began facing a disconcerting reality: the primary audience for his work, like decisionmakers in positions of power, were not being moved. “I really realized it way too late. I think many people wouldn’t have needed to go through ten years at the International Crisis Group to reach the conclusion I was banging my head against a wall. I was having so many conversations with leading policymakers who were telling me, over and over, it doesn’t matter how convinced I am personally of what you are writing—I am not going to change my behaviour.”

本，比真正解決問題所付出的還要低。

It was the dawning of Thrall’s realization that if he wanted to effect change, he would have to do it differently. “There is a real limit to how far [policymakers] can go in the absence of a change in public opinion.”

But to change public opinion, particularly on a topic as divisive as this, the kind of analytical, thesis-driven writing he had been doing appeared increasingly inadequate. The political moment Thrall found himself in, marked by the proliferation of reactionary rhetoric around the world and the rapid dissolution of middle ground, suggested that reason had ceased to matter—or otherwise had ceased to move people. But Thrall’s belief in the intrinsic value of truth was unwavering; he would put aside his intellectual writing and attempt at emotional appeal, and he would do so using nothing but facts.

會因此改變自己的行為。」

然而，就在這段時間，Thrall 亦開始面對一種令人 不安的現實：他文章的主要受眾，包括擁有決策權 的人士，根本沒有被打動。「我真的太遲才明白這一 點。我想許多人根本不需要花十年時間在國際危機 組織中工作才得出這個結論：我根本是在把頭撼向 牆壁。我和很多政策制定者對話，他們一次又一次 告訴我：無論我在私下多麼認同你的文章，我也不

Thrall 終於意識到，要改變現狀，必須改變現有方 法。「若果公眾輿論沒有轉變風向，（決策者）可以做 的確實不多。」但要改變輿論，尤其在這樣一個極具 爭議性的議題上，他過去所採用的分析型、論點導 向寫作方式，似乎越來越無力。Thrall 所處的政治 時刻，世界各地充斥著仇恨言論的大環境，以及中 間立場的迅速瓦解，說明理性已經不再重要；又或 者，已經無法觸動人心。但 Thrall 對「真相本身的價 值」始終堅信不移，於是他決定放下理性寫作，轉 而嘗試訴諸情感，而唯一使用的工具，就是事實。

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A Day in the Life of Abed Salama In 2020, a friend of Thrall’s in Jerusalem mentioned in passing an incident that had taken place nearby eight years earlier. Soon after crossing an Israeli checkpoint, a bus full of Palestinian kindergarteners and their teachers had been hit by a semi-trailer truck, overturned, and burst into flames. Six children and a teacher died in the fire before emergency services arrived at the scene. Thrall’s friend mentioned that one of his relatives had lost his five-year-old son in that accident.

That relative was Abed Salama, and after years of silent grieving, when Abed agreed to meet Thrall he was hungry to talk about his son.

Thrall decided to turn Abed’s story into a book because he believed it had the power to move people. It became a story not just of Abed and his son, Milad, but of a myriad of characters—Palestinian and Israeli—whose lives intersected around the fatal bus crash. There was, in the circumstances leading to the crash and its nightmarish aftermath, a microcosm of the injustices of occupation. Thrall found instrumental value in this, but he also found himself caring deeply about the characters at its heart. He had spent so many days with Abed, tallying hundreds of hours as they pored over his life, watching videos of Milad as Abed cried—and Thrall, who had become a father to three young girls, cried too. Thrall spent four years working on the book, and, driven by the feeling of doing justice by Milad’s memory, he created a work he felt could be a bridge across the political divide. “I really had the hope that this book was going to be embraced by liberal Jews throughout the world. I thought that this is something that every reformed Synagogue readership would be passing around. And I really think I had a chance at that prior to October 7.”

《A Day in the Life of Abed Salama》 2020 年，Thrall 在耶路撒冷的一位朋友偶然提起 八年前曾經在附近發生的一宗事故。當時一輛載有 巴勒斯坦幼稚園學生及老師的校車，在穿越以色列 檢查站後不久，遭到貨櫃車的撞擊，並翻側起火。 火勢在救援人員抵達前已奪去六名學童及一名教師 的性命。朋友提到他的親戚在事故中失去了五歲的 兒子。那位親戚就是 Abed Salama。經過多年的沉 澱與哀悼後，Abed 同意與 Thrall 見面，並主動希望 能談及他對兒子的思念之情。 Thrall 決定將 Abed 的故事輯錄成書，因為他相信這 個故事能夠感動人心。這本書成為了一個不僅關於 Abed 和他兒子 Milad 的故事，亦關於眾多人物 — 無論是巴勒斯坦人或以色列人— 他們的生命亦因這 場致命車禍而交織在一起。這場意外及其一連串惡 夢般的延伸事件，皆反映出當中佔領制度的不公不 義。當然，Thrall 看到這本書所帶來的價值，但他同 時亦深深關懷書中主角。他與 Abed 共度了無數日 子，花了數百小時細訴其人生，看著 Milad 的影片 時，Abed 流下了男兒淚，而身為三女之父的 Thrall 亦同樣動容落淚。他花了四年時間撰寫此書，透過 Milad 的記憶帶出真相的態度，譜寫出一部能跨越政 治分歧的作品。「我真的曾希望這本書能獲全球自由 派猶太人所接受。我希望每一間改革派猶太教堂的 讀者都會傳閱它。我真的覺得，如果不是 10 月 7 日 發生那件事，我是有這個機會的。」

Morningside College Book Club welcomes Thrall to their final meeting to discuss A Day in the Life of Abed Salama. 晨興書院為學生舉辦讀書會，一起閱讀並討論《A Day in the Life of Abed Salama》。Thrall 親自出席最後一場讀書會，與參與學生作深入交流。

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“I didn’t want to have a reader close the book and stop reading because they felt I was imposing my views on them. But I wanted them to walk away from this book feeling what I want them to feel.” 「我不願意讀者因感到被強輸觀點而擱書不讀，唯願他們合書時，能感我所欲其感。」

Four days after A Day in the Life of Abed Salama was published, the events of October 7, 2023, upended everything. Thrall knew immediately that this episode of violence would be different than anything that had come before. It also placed a question mark on his previous four years’ work. Many of his interviews in the US and the UK alongside Abed were cancelled, and book reviews that had been scheduled for release never appeared. “It made it a thousand times harder for people to be open to hearing a sympathetic story about Palestinian life under occupation.”

《A Day in the Life of Abed Salama》出版僅4日後，

But as the weeks passed and the death toll of Israel’s attacks on Gaza soared, killing twenty thousand Palestinians in just over two months,2 Thrall’s book would reach many audiences around the world. Thrall could not have anticipated the unprecedented events of October 7 or the media blitz that followed it, yet, in a period marked by heightened sensitivity and extreme polarization, Thrall’s book was presciently designed to walk a very fine line. Thrall’s readers would not find a discussion of Gaza or historical analysis of Hamas or the occupation. In fact, they would not find in it much argument or opinion at all, and this was Thrall’s intention. “I didn’t want to have a reader close the book and stop reading because they felt I was imposing my views on them.

But I wanted them to walk away from this book feeling what I want them to feel.” Thrall wanted them to feel the injustice of a system he had, for over a decade, seen so closely, a system best demonstrated through a single word: ‘apartheid’.

但隨著時間過去，以色列對加沙的攻擊導致死亡人

‘Apartheid’ appears only once in the text when Thrall quotes an Israeli colonel who uses it. Like many, Thrall believes that Israel’s treatment of the Palestinians it governs amounts to apartheid, but he does not say that in his book. This is perhaps most emblematic of the change in approach Thrall decided was needed for this book. “I’m just going to give you facts. You’re going to observe, let this story unfold, and you’re going to be devastated by the facts of the matter.” When an acquaintance of Thrall’s told him that after reading the book, her mother—whom she had been trying to convince for fifteen years that it was apartheid—became convinced, Thrall received it as a sign of success. Success came in other forms too; in May 2024, A Day in the Life of Abed Salama would be awarded the Pulitzer Prize.

It was in the thirteenth month of his book tour, in November of the same year, that Thrall visited Morningside. It was also the thirteenth month of the war in Gaza, and Abed Salama, who appeared alongside Thrall for much of the beginning of the tour, had returned home to his family in the West Bank. In Abed’s absence, Thrall appeared as someone on a mission.

就在 2023 年 10 月 7 日發生的事件，徹底改變了一 切。Thrall 立刻知道，這次暴力衝突將會與以往的全 然不同。這亦為他過去四年的心血添上問號。他與 Abed 在美英安排的多場訪談被取消，多篇原定發 表的書評亦未有刊登。「這令人們願意聆聽一個關於 巴勒斯坦人在佔領環境下，值得被人同情的生活故 事變得難上千倍。」

數暴增，短短兩個月內已奪去兩萬條巴勒斯坦人 命，這令到 Thrall 的書開始為世界各地的讀者所閱 讀。雖然 Thrall 無法預視 10 月 7 日會突然發生事故 或其後鋪天蓋地的媒體將如何取態，但在這個極度 敏感、極端對立的時代裡，他的著作展現出驚人的 前瞻性，恰到好處地展述了一切。Thrall 的讀者在 書中不會找到有關加沙的討論，也找不到有關哈馬 斯或佔領歷史的分析。事實上，他們幾乎找不到任 何論點或觀點，而這正是 Thrall 的本意。「我不願意 讀者因感到被強輸觀點而擱書不讀，唯願他們合書 時，能感我所欲其感。」Thrall 指的是讀者能夠感受 到那個佔領制度的荒謬與不公，一個他親身觀察了 十多年的制度，一個可以用一個詞來概括的制度： 「種族隔離」。 「種族隔離」這個詞在書中只出現過一次，是 Thrall 引述一位以色列上校的話時所提及的。跟許多人一 樣，Thrall 認為在以色列統治下巴勒斯坦人所受的對 待構成了種族隔離問題，但他在書中並沒有明言這 一點。這或許正好展示出他撰寫這本書時所採取的 新方法。「我只會提供事實，讓你觀察、讓故事自己 發展，但你就是會被事實所震撼。」當 Thrall 一位友 人告訴他，相比十五年來她自己不斷說服其媽媽都 未曾成功，她媽媽在閱讀完這本書後終於相信這就 是種族隔離，Thrall 視之為一種成功。當然，這本書 的成功不止於此。2024 年 5 月，《A Day in the Life of Abed Salama》獲得了普立茲獎。 而在同年 11 月、亦是舉辦新書簽名會巡禮的第十三 個月，Thrall 到訪晨興書院。那時也是加沙戰爭的第 十三個月，而在簽名會初期一直與他同行的 Abed Salama，早已返回位於約旦河西岸的家人身邊。在 Abed 缺席的情況下，Thrall 顯得如同一名帶著使命 而來的人。 12

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“I still feel like this book has more people that it can reach,” Thrall said.

It was not newfound optimism but rather his same pragmatic attitude.

“I think emotional attachment is more long-lasting and deeper and more powerful than any kind of intellectual argument. If I’m really trying to change public opinion, or make a dent in public opinion, I think doing it through stories that touch people is the best way and the reception of this book has really affirmed for me that that was the right strategy. It was a gamble. I didn’t know if it would work… The kind of writing I did in The Only Language They Understand has its value, but I don’t think it had a chance to be received in the same way as A Day in the Life.”

「我仍然覺得這本書可以觸及更多人。」Thrall 說。 這並非突如其來的樂觀感覺，而是他一貫務實的 態度。「我認為情感的連結比任何理性辯論都來得 深遠而有力。如果我真的想要改變公眾的觀感，甚 至只是稍微撼動它，我相信透過觸動人心的故事是 最好的方式，而這本書所得到的回應，讓我更加肯 定這是正確的策略。這本來是一場賭注，我並不 知道是否可行……我在《The Only Language They Understand》那種寫法確有其價值，但我不認為它 能像《A Day in the Life》同樣地廣被接受。」

Nathan Thrall delivered the final GEMC1001 lecture of the semester to the Morningside College freshman class. By encouraging students to read one book and participate in related events and conversations, the College’s One Book Programme aims to unify the community in deeper inquiry around a different topic each year.

Nathan Thrall 為晨興書院一年級學生主持本學期最後一節 GEMC1001課堂。晨興書院透過「一本書計劃」鼓勵全體同學一同閱讀選書，並參與相 關活動與討論，期望每年以不同主題凝聚整個社群，深入探索不同重要議題。

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Certainly, the change in approach was a matter of ability as well as of choice. Thrall describes the book as the “greatest structural challenge I have ever faced in my life.” There are some sixty characters in the book whose stories are nested within one another; characters of all backgrounds whose separate arcs had to be reconciled to construct a coherent whole. There was also much that had to be cut from the first draft of the book—a process that is not easy for any writer, let alone one whose writing involves the lives of real people.

Yet even then, it is the decision itself—not the ability to execute it—that stands out. The decision reflects nearly two decades of accumulated experience writing about Israel and Palestine, but just as that experience deepened Thrall’s knowledge and intuition, it intensified the strength of his convictions, as well as the desire to assert them. To remove himself entirely from the page, to confine his own arguments and thoughts to the last few paragraphs of the epilogue (and remain, there as well, non-ideological), makes the book not just a gamble or an immense structural puzzle, but a masterful act of self-denial. Thrall’s desire to effect change became the guiding hand that put the book together and left no trace of its having done so. In its seeming absence, there is room for readers to suspend their judgement and become absorbed by what Thrall has created: a book not about occupation or injustice or a bus crash, but a book of people—a book that humanizes.

When he sent the first part to Abed, the part that detailed his complicated marriages and revealed thorny family secrets, Abed called Thrall to express his shock. There was much he did not expect to see written. But Thrall’s fixation with the whole, unobscured truth paid off.

When Abed finished reading the entire book, he told Thrall he hugged it like it was his son.

這種寫作方式的改變，不單是選擇，也是一種能力 的挑戰。Thrall 認為這本書是他「在寫作結構方面， 人生中面對過最大的挑戰」。書中涉及約六十名角 色，彼此的故事層層交疊，不同背景的人物軌跡必 須在敘事上加以整合，才能構築出一個完整而連貫 的整體。而原稿中還有大量內容被刪去，這對任何 作家而言，都不是一件容易的事，更何況這些故事 關乎真實人物的生命和經歷。 然而，更令人矚目的，是那個選擇改變寫作方式的 勇氣本身，而非寫作能力。這個改變展示出他將近 二十年書寫以巴議題所累積的功力；而正因為功力 的積累，他的見解更深、直覺更敏銳，信念亦更堅 定、有更強烈的使命感去表達。但 Thrall 卻選擇了 從書中完全抽離自己，將自己的觀點和立場壓縮在 最後的幾段附錄之中（甚至當中亦避免觸及意識形 態）。這不只是一次賭注、一幅龐大的敘事拼圖， 更是一場自我克制的經典之作。Thrall 對改變的渴 望，成為背後那隻無形之手，將全書編織起來，卻 不留下任何痕跡。正因為這份「看似不帶立場」的敘 事手法，才為讀者騰出空間，使他們能暫時放下判 斷，全心投入Thrall所構建的世界：一本不僅是講述 佔領、不公或車禍的書，而是一本談論人的書，一 本讓人性得以呈現的作品。 當他把第一部份的草稿寄給Abed時，因為那一段提 及了 Abed 的婚姻困境與複雜的家庭秘密，Abed 看 完後馬上打電話給 Thrall，語氣中充滿震驚。他沒有 想到那些事情會出現在書本之中。但Thrall堅持呈現 完整、不加掩飾的真相，最終得到了回報。當 Abed 閱讀完整本著作後，他對Thrall說，他緊緊抱著這本 書，彷彿像抱緊自己的兒子一樣。

Abed Salama holds a photo of his son, Milad. Photograph by Ihab Jadallah.

Abed Salama 拿著兒子Milad的照片。攝影：Ihab Jadallah

1

Omer-Man, “Nathan Thrall on the Daily Tragedies of Palestinian Life and Israel‘s ‘Architecture of Segregation.‘” DAWN, October 6, 2023.

Omer-Man撰文，〈Nathan Thrall on the Daily Tragedies of Palestinian Life and Israel‘s ‘Architecture of Segregation.‘〉，《DAWN》，2023年 10月6日。

2

Jobain and Magdy, “Israel-Hamas War: Gaza Death Toll Exceeds 20,000.” AP News, December 23, 2023.

Jobain及Magdy撰文，〈Israel-Hamas War: Gaza Death Toll Exceeds 20,000〉，《AP News》，2023年12月23日。

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MC

SPACE

Morningside College held its 12th annual Photography Competition this spring. All CUHK undergraduate students were invited to submit photographs to three categories: ‘Duet’, ‘Distortion’, and ‘Decay’. Thank you to Morningside Fellow, Associate Professor of Practice in Cultural Management, and Director of the Master of Arts in Cultural Management Programme, Benny Lim, for his support as this year’s competition judge.

晨興書院於今個春季舉辦了第十二屆年度攝影比賽。我們誠邀所有中大本科學生參加，並圍繞以下 三個主題遞交作品：「二重奏」、「扭曲」及「腐朽」。特別鳴謝晨興書院院務委員、文化管理專業應用 副教授及文化管理碩士課程主任林國偉教授擔任今年比賽的評審。

Grand Prize Duet: 1st Place Kidden 《毛孩》

Thomas Xu 徐秩恒 Morningside College

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Distortion: 1st Place Moving distortion 《木影浮流》

Amicie Lebourdais

Amsterdam University College, Morningside College Exchange 2024-2025

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MC SPACE

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Decay: 1st Place and

Student Choice Echoes of the Sunbeam 《光影回響》

Ng Ching Man 吳靖雯 Shaw College

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MC

MEETS

HEALING PEOPLE THROUGH MUSIC AND MEDICINE 以音樂與醫術療癒人心

By Ekaterina “Rin” Tsavalyuk

Tsz Ho performing at the Toyama International Contemporary Music Festival in Japan 子皓於日本富山國際現代音樂節演出。

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Lam Tsz Ho, a Year Four Morningside College student from Hong Kong, seamlessly bridges the worlds of medicine and music. By day, he is a dedicated student in the Bachelor of Medicine and Bachelor of Surgery (MBChB) program; by night, he is an accomplished musician, serving as a musical director, conductor, violinist, and pianist. With a rich musical background in Hong Kong and abroad, Tsz Ho is a Musical Director at Face Productions—a stage school, production company, and talent management agency—and an Assistant to the Musical Director for Hong Kong Singers, one of the longest-established community theater companies in Hong Kong. He also performs as a violinist in The CUHK Chung Chi Orchestra and previously played the keyboard for the MC Band.

Tsz Ho was awarded the Licentiate Diploma in Violin Performance and Piano Performance (LTCL) in 2017 and 2019 respectively, along with a Licentiate in Music Theory (LMusTCL) in 2020 from Trinity College London. Currently, Tsz Ho also serves as a music director for Face Production’s Anastasia. His recent musical directing credits include productions of Shrek the Musical, Mamma Mia!, High School Musical, Beauty and the Beast, and Spring Awakening.

來自香港的林子皓，是晨興書院四年級學生，他一 直無縫遊走於醫學與音樂世界。白天，他專注修讀 內外全科醫學士課程；晚上，他則是位才華洋溢 的音樂人，身兼音樂總監、指揮、小提琴家及鋼 琴家。子皓擁有豐富的本地與海外音樂背景，目前 正擔任舞台劇學校、製作公司及演藝人才管理機構 Face Productions 的音樂總監，以及香港歷史最悠 久的社區劇團之一 Hong Kong Singers 的音樂總監 助理。他亦是香港中文大學崇基管弦樂團的小提琴 手，曾為晨興樂團擔任鍵琴手。 子皓分別於 2017 年及 2019 年獲得倫敦聖三一學院 小提琴及鋼琴演奏執業文憑，並於 2020 年獲得樂 理文憑。現時，他正擔任 Face Productions 音樂 劇《Anastasia》的音樂總監。他近期的音樂作品包 括《Shrek the Musical》、《Mamma Mia!》、《High School Musical》、《Beauty and the Beast》以及 《Spring Awakening》。

Tsz Ho is the current conductor for The CUHK Chung Chi Orchestra and the assistant conductor of Cantabile. He was recently chosen as one of just two conductors to participate in a conducting masterclass led by the renowned Christoph Eschenbach, as part of the Hong Kong Philharmonic Orchestra’s Jockey Club Tutti Programme. Last summer, Tsz Ho was awarded a scholarship to conduct in the Toyama International Contemporary Music Festival where he worked with Neil Thomson. In 2022, he had the opportunity to assist Dominic Wheeler, Head of Opera studies at Guildhall, in the production of Offenbach’s Orphée aux Enfers at the Berlin Opera Academy.

子皓現為香港中文大學崇基管弦樂團的指揮，並為

In addition to conducting, Tsz Ho is an accomplished violinist. He is currently the concertmaster of The CUHK Chung Chi Orchestra and actively performs with the Ponte Orchestra. He recently performed Bruch’s Concerto for Violin and Viola with The CUHK Chung Chi Orchestra as a violin soloist.

除了指揮，子皓亦是一位出色的小提琴手。他目前

Junior Fellow Rin Tsavalyuk sat down with Tsz Ho to discuss how he balances his passions for music and medicine, and how he manages to excel in both fields.

小提琴。

Rin: When did you decide to study medicine? Did you consider pursuing music as your primary field of study?

合唱團 Cantabile的助理指揮。他最近更獲選為香港 賽馬會齊奏音樂夢計劃中，唯一兩位參加 Christoph Eschenbach 大師班的指揮之一。去年夏天，他獲獎 學金前往富山國際現代音樂節擔任指揮，並與 Neil Thomson 合作。2022 年，他亦曾於柏林的一間歌 劇學院裡協助倫敦市政廳音樂及戲劇學院歌劇系主 任 Dominic Wheeler 成功演出 Jacques Offenbach 的《Orphée aux Enfers》。

是香港中文大學崇基管弦樂團的首席小提琴手，活 躍於樂團 Ponte Orchestra的演出。他最近亦與香港 中文大學崇基管弦樂團合奏 Max Christian Friedrich Bruch 的《小提琴與中提琴協奏曲》，並於當中獨奏

這次通識教育導師 Rin Tsavalyuk 有幸與子皓展開對 談，探討他如何能夠同時在音樂與醫學兩個不同的 世界裡保持熱情與卓越的表現。

Tsz Ho: Some people know that they want to be in the healthcare field from a very young age. That was not me. I was curious in school and a wide range of subjects interested me. Over time, I narrowed my focus to music and medicine. I thought about what each path would look like in practice and realized that they share many similarities. Fundamentally, whether you are practicing medicine or playing music, you are trying to heal people, to alleviate something within them.

Rin：你是何時決定修讀醫科的？你有否曾考慮以音

To be honest, I don’t often listen to music for pleasure. I prefer podcasts or audio books instead. The joy comes from performing music for others—that’s where I find my dopamine. So, when it came to choosing my area of study, medicine seemed like a more straightforward path to fulfilling the abstract goal of helping people. Societal pressure also played a role in my decision not to pursue music through formal education.

不論是行醫或演奏音樂，本質上都是希望療癒他

樂作為主修科目？ 子皓： 有些人從小就知道自己想從事醫療工作，但 我並不是那種人。我對很多不同學科都有興趣，最 後才慢慢集中到音樂與醫學。我一直有思考這兩條 路的實際發展方向，發現它們其實有很多共通點。 人、減輕他人心中的痛苦。 坦白說，我平時很少為了娛樂而聽音樂，我更喜歡 聽 Podcast 或有聲讀物。我真正的快樂來自為他人 20

MC MEETS

Rin: It seems you remain equally committed to both music and medicine.

Speaking of your medical studies, I understand you are spending more time in the hospitals this year.

演奏，那才是讓我產生多巴胺的方法。因此在選修

Tsz Ho: Yes, the first three years of the MBChB program are preclinical, with most of our time spent at CU. Starting in fourth year, we begin clinical practice. For example, in the mornings, we accompany doctors during their rounds. It is quite amusing because hospitals are very hierarchical. You’ll see the senior consultant doctor leading, followed by assistant consultants, medical officers, and then students. If you step back and observe, it’s an entertaining sight—a line of twenty or so people moving in formation.

追求音樂之路的一個因素。

The experience varies depending on how willing a doctor is to engage with you. They’re often very busy. Sometimes, there are scheduled bedside tutorials where a doctor dedicates an hour to teaching students.

In outpatient clinics, we might sit in and observe how doctors interact with patients.

資深顧問醫生，隨後的是助理顧問、普通醫生，最

科目時，我認為醫學是一條更能直接幫助到他人的 道路。當然，社會壓力也是我決定不透過正規教育

Rin： 看得出來你對音樂與醫學都非常投入。在醫學 方面，我聽說你今年在醫院的實習時間更長了。 子皓：是的，醫學課程的前三年都是基礎醫學訓 練，主要都在中大上課。到了第四年，我們開始臨 床實習，例如早上跟隨醫生巡房。其實過程挺有趣 的，醫院裡的階級制度非常分明。走在最前方的是 後才是學生。看著約二十人列隊前行，場面挺像表 演。 然而，實習的體驗會因應醫生願意教學的程度而有

Rin: It seems the Morningside medical students spend a lot of time together.

所不同。大部份醫生都很忙碌，但有時他們又會安

Tsz Ho: Yes, the medical community at Morningside is very tight-knit.

Our schedules are different from everyone else’s—our breaks don’t align. We share unique struggles, which brings us closer. That said, we all have friends outside of medicine, too.

亦會坐在旁邊觀察醫生如何與病人溝通。

Rin: Speaking of tight-knit communities, I know that you have been involved with the music community at Morningside. Now you are also very involved with the Hong Kong and CU music scenes. Can you tell me more about your musical journey and your progression as a musician?

於我們的課程安排與其他學系不同，假期時間往往

Tsz Ho: Like many Hong Kong students, I started playing the violin and the piano at a very young age. However, I didn’t realize I was passionate about music until middle school. In Hong Kong, it is customary to learn how to play musical instruments, so it took me time to recognize my own interest. My musical training was classically based, but I also started to play in orchestras from primary school onward. At university, I had the freedom to explore different styles and experiment.

外的朋友，生活並不只圍繞著醫學。

排與學生進行一小時的床邊教學。在門診時，我們

Rin：晨興書院的醫科生好像都有很多機會相處？ 子皓： 沒錯，晨興書院的醫科生社群非常緊密。由 不一致，這讓我們之間產生了一種特別的連結。大 家都經歷著只有醫科生才會明白的挑戰，這些共同 經歷讓我們更團結。不過，我們也都有來自醫科以

Rin： 說到歸屬感，我知道你也參與不少晨興的音 樂活動。後來，你亦很活躍於香港與中大的音樂圈 子。可以分享一下你的音樂旅程嗎？

Tsz Ho (back row, third from right) and fellow medical students 子皓（後排右三）與一眾醫科同學合影留念。

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I chose CU because of its music community, which is larger than at most other universities. I also knew I could continue music at Morningside.

I joined a couple of jam sessions with the MC Music Community and eventually I started playing the keys for the MC Band. Those jam sessions are some of my fondest memories at Morningside.

子皓： 像很多香港學生一樣，我從小學習小提琴

I joined The CUHK Chung Chi Orchestra in my first year and I still play the violin with them. I already knew some members from primary and secondary school. The music world in Hong Kong is small, and we all know each other. That sense of community means a lot to me.

學後，我才有機會探索不同風格，作更多嘗試。

Rin: You’ve also pursued exciting opportunities outside the university.

Tsz Ho: I’ve always wanted to work in musical theater. I find it more accessible for audiences to connect with emotionally. I participated in some amateur productions in high school, which, frankly, weren’t very good. Yet that experience inspired me to find other opportunities related to musical theater. In my first year, I was full of energy and eager to be more involved. I was bold, too—I reached out to people on Facebook, sent cold emails. I wouldn’t do it now, but as a freshman, I had nothing to lose.

和鋼琴。學樂器在香港很普遍不過，感覺有點習以 為常。我直到中學才意識到自己真的熱愛音樂，確 立對音樂的興趣。同時我學習的音樂主要為古典樂 曲，致使我從小學開始就加入管弦樂團。直到上大

我選擇中大是因為這裡的音樂圈子比其他大學活 躍，而且我知道晨興也舉辦了不少音樂活動。我一 開始參加了幾次 MC Music Community 的即興演奏 環節，後來更加入了晨興樂團擔任鍵盤手。那些即 興演奏環節是我在晨興最開心的回憶之一。 我大一加入了香港中文大學崇基管弦樂團，至今仍 然是他們的小提琴手。有些團員更是我從小學或中 學就認識的。香港的音樂圈子很小，大家都互相認 識，當中所帶來的歸屬感對我意義重大。 Rin：你有否參與大學以外的精彩活動？

That is how I got involved with Face Productions. Their music director was going to be away for some time, and they needed someone to teach kids how to sing. I helped with that, and eventually, they offered me the role of musical director for one of their productions.

子皓： 我一直很想參與音樂劇，我覺得音樂劇更

My other major music commitment is with Hong Kong Singers, a community musical theater group. I emailed them expressing my interest, and though they replied six or seven months later, it led to an opportunity. Putting yourself out there is a slow process but it pays off.

滿幹勁，渴望投入更多活動，亦很大膽，會主動用

They initially asked me to help with sound checks, and for their next production, I was offered the role of Assistant to the Musical Director.

My responsibilities include teaching songs to different groups of singers, facilitating communication within the team, and ensuring rehearsals run smoothly. The Musical Director emphasized the importance of communication and creating a positive atmosphere. How do you make sure people want to come back for a second rehearsal or a second

容易與觀眾產生情感上的共鳴。我中學時曾參加一 些業餘劇團，雖然水準一般，那段經歷啟發了我去 尋找更多與音樂劇有關的機會。大一時我整個人充 Facebook 及電郵聯絡本身不認識的人。現在我不 會再這樣做了，但當時作為一名新生確實是毫無包 袱，什麼都敢試。 這就是我能加入 Face Productions 的原因。他們原 本的音樂總監正要離開香港，急需找人教小朋友唱 歌。我在接手歌唱教學一段時間後，他們更邀請我 擔任其中一套製作的音樂總監。 另一個我長期參與的社區音樂劇團是 Hong Kong Singers。那時我主動用電郵聯絡他們表達興趣，可 是超過半年後才收到他們的回覆，才有機會參與其 中。主動出擊可能會碰壁，但總是會有回報的。 初時他們邀請我協助音響測試，但再下一次製作 時，他們邀請我擔任音樂總監的助理，負責教導不 同組別的演唱者演唱歌曲、與團隊溝通及確保排練 順利進行。音樂總監常經常强調溝通與營造積極氛 圍的重要性：如何令團員願意回來參加第二次排 練或第二次演出？怎樣讓四小時的排練變得愉快？ 而當排練完畢後，怎樣讓大家說：「啊，不想完結 呢！」 ？ Rin： 這些經歷真的很令人佩服，而且確實需要一個 成熟的態度去處理。 子皓： 這方面的工作很多都需要即場應變，不斷從 細節中吸收新的技巧。以指揮為例，是一門難以量 化的藝術，需要觀察與經驗。我第一次帶領一個學

Tsz Ho performing during Morningside College Music Night 子皓於晨興書院音樂之夜中演出。

生樂團排練時，心裡其實非常緊張，但累積經驗後 便會漸漸得心應手。我亦學會坦然面對錯誤，這種 22

MC MEETS

production? How do you make a four-hour rehearsal enjoyable? And at the end of the rehearsal, how do you make people say, “Oh, I wish that was longer…”?

Rin: This is very impressive and certainly requires a lot of personal growth.

Tsz Ho: Much of this work involves learning on your feet. You’re constantly picking up little insights and techniques. Conducting, for example, is an art that’s hard to quantify—it’s something you observe and experience. When I first had to lead a rehearsal with a student orchestra, I was terrified. But with each experience, it becomes less daunting. I’ve learned to embrace mistakes and be upfront about them.

That mindset has been invaluable in medicine, too. Many people are too proud or scared to admit when they don’t know something, but in medicine, that can have serious consequences.

Rin: It seems that you have access to so many different small communities.

Is there any overlap between the music and the medicine communities?

Tsz Ho: Yes, there are many parallels between music and medicine.

Both are about healing, but they also share practical similarities. They are hands-on disciplines that require intense focus. You need a strong theoretical foundation, but ultimately, it’s about practice.

For medics specifically, music is a form of escapism. I am part of an established community called Medical Musicians. It is composed of medical students, doctors, healthcare professionals, public health professionals. We come together to play chamber music and occasionally orchestral performances. The community is very strong. I remember in my freshman year, a quintet of doctors in their first year of residency were performing at one of the Medical Musicians concerts. They used to record videos of them rehearsing. I remember seeing a video of their 3AM rehearsal in someone’s house. They had just gotten off call and this was the only time they all had free in common.

心態在醫學方面亦非常寶貴。不少人會過於自大或 害怕承認不足，但在醫學界，這種態度會帶來嚴重 的後果。 Rin： 你似乎接觸過很多不同領域的圈子。音樂與醫 學界的圈子之間有相似之處嗎？ 子皓： 有的，音樂與醫學之間有很多相似之處。兩 者都是治癒的一種方式，但同時亦有實際上的共通 點。它們都需要動手操作和集中精神，同時需要堅 實的理論基礎，但最終還是要靠不斷實踐。 在高度緊繃的醫療工作中，音樂恰是醫學生暫時脫 離現實的喘息空間。我參與了一個名為「香港醫樂 人」的群組，成員包括醫學生、醫生、醫護人員和 公共衛生專業人士。我們聚在一起演奏室樂，有時 也會有管弦樂演出。這個群組非常團結。我記得大 一那年，香港醫樂人的一場音樂會上，一組由五位 剛開始住院醫師訓練的醫生組成的五重奏在演出。 他們喜歡錄下他們排練的影片。我還記得有一段是 在凌晨三點，就是在大家剛值班回來後排練的。這 是他們唯一有空一起排練的時間。適時抽離並投入 其他事務，能讓人以煥然一新的狀態重拾本業。 Rin： 我現在明白為什麼這兩個領域會吸引類似的 人。你提到承擔多一點責任反而能幫助你轉移焦 點，讓你更加放鬆。你是如何管理時間的？ 子皓： 我本來不是一個很有條理的人，但為了能 夠處理這一切，我被迫變得有條理。在我大二的時 候，我接了太多工作，結果身心俱疲。醫學課程在 第二年明顯變得沉重，我當時完全沒有預計到。與

Taking time to step away and focus on something else helps you return to your primary work with renewed energy.

此同時，我在音樂方面的發展機會亦漸有成果，接

Rin: I see now how both these fields attract similar types of people. You mention that having multiple commitments helps you to shift your focus and relax more. How do you manage your time?

精力。因此我學會了狠狠地說「不」。這是一個艱難

了不少短期工作、樂團職務及教職等。結果我耗盡 但必須學習的課題，若承諾後卻不全力以赴，無論 對己對人都是一種辜負。 Rin： 不過，即使你學會了說「不」，你仍然參與了不 少活動，不只在本地，還有國際上的。我知道你去 威爾斯報讀了指揮課程，亦曾在柏林的一個歌劇團 裡擔任助理。 子皓： 幾年前，香港並沒有太多學習指揮的機會。 現在越來越普及，我很高興看到這個改變。我提 過指揮是需要從觀察中學習的。在小學和中學時 期，我看到指揮家如何帶動一首樂曲與一整個樂 團，這深深啟發了我。我想接受正規的訓練，所以 去了威爾斯報讀了一個短期課程。那是 Musicfest Aberystwyth 音樂節的一部份，由英國皇家音樂學院 指揮系主任 Toby Purser授課。

Tsz Ho conducting The CUHK Chung Chi Orchestra 子皓擔任香港中文大學崇基管弦樂團指揮。

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Tsz Ho (bottom left) at the Medical Musicians performance. Photograph by Medical Musicians 子皓（左下）於香港醫樂人演出中。攝影：香港醫樂人

Tsz Ho: I’m not naturally the most structured person, but to make this work, I had to become one. In my second year, I overcommitted and burned out. The workload in medical studies increases significantly in the second year, and I did not anticipate that. At the same time, my efforts to find music opportunities were paying off, and I took on freelancing, orchestra, and teaching. And I burned out. I learned to say ‘no’ the hard way. It is a difficult but necessary lesson. Being half-committed is unfair to yourself and others.

Rin: And yet, even with this new learned lesson of saying ‘no’, you’ve been involved in various things not just domestically, but also internationally. I know that you took a conducting course in Wales, and you worked as an assistant for an opera in Berlin.

Tsz Ho: A few years ago, there were not many opportunities to learn conducting in Hong Kong. It is becoming more common now, which I am glad to see. I mentioned how conducting is learned from observing.

During primary and secondary school, I saw how conductors shaped the music and dynamics of an orchestra, and that sparked my interest.

I wanted formal training, so I took a short course in Wales. It was part of the festival Musicfest Aberystwyth in Wales, and it was led by Toby Purser, the Head of Conducting at Royal College of Music.

柏林歌劇學院正在招募指揮助理，幫忙管理眾多歌 唱家。我因此報名申請，奇蹟地成為了兩名指揮助 理之一。那段日子非常緊湊，在柏林的一個半月裡 需要無間斷地排練，但從中我學會了很多。 Rin： 這真的很發人深省。最後想請教一下，你在音 樂和醫學方面有什麼期望？ 子皓： 在醫學方面，我仍在探索的過程中。我應該 不會成為外科醫生，因為我的手比較笨拙。當然也 有像麻醉科或放射科這些與病人較少互動的專科， 但我很享受與病人交流，所以暫時還沒決定。 在音樂方面，我希望能夠繼續擔任指揮工作與參與 管弦樂團的演出。能夠指揮一齣配有現場管弦樂團 的音樂劇，將會是我夢寐以求的事，那將結合我對 音樂的多種熱情與興趣。 無論未來如何發展，音樂與醫學都將是我生命中不 可或缺的一部分。

The Opera Academy in Berlin was recruiting assistant conductors because they have many singers and needed additional support. I applied to be an assistant conductor and miraculously was selected as one of the two assistant conductors. It was a very intense experience—a month and a half in Berlin of nonstop rehearsals—but I have certainly learned a lot from the experience.

Rin: This is fascinating. To close, what are your aspirations in music and medicine?

Tsz Ho: In medicine, I am still in the process of discovery. I don’t think I will be a surgeon. I am quite clumsy with my hands. There are also specialties like anesthesia or radiology that require less patient interaction, but I enjoy connecting with patients, so I’m keeping my options open.

In music, I would love to continue conducting and performing in orchestras. Conducting a musical with a live orchestra would be a dream—it would combine so many of my musical interests.

Whatever comes next, both music and medicine will undoubtedly be part of it.

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ALUMNI

NEWS

By Kaitlyn Roukey

Myles Ng ’23 discusses challenges facing migrant domestic workers in Hong Kong and what steps we can all take to help (TEDxHKU February 2023). 黃忠文（2023 年）於2023 年 2 月的TEDxHKU活動上分享香港外傭所面對的挑戰，以及我們能夠如何提供協助。

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MYLES NG: FOUNDER OF HELPBRIDGE 黃忠文：HelpBridge 創辦人 If you ever have the pleasure of meeting Myles Ng, he will probably introduce himself as an education entrepreneur, people professional, and community builder. Back in 2018, he was just getting started as a first-year student at Morningside.

Each summer, the service learning trip to Morocco introduces students to founders and service providers at nongovernmental organizations (NGOs) and social enterprises that focus on women’s empowerment and environmental sustainability. Myles was one of the youngest students to participate in the programme in 2019. Verdaterre, a Rabat-based social enterprise that recycles waste into fertile soil for local farmers, proved to Myles that a civil society organization could productively operate at scale. “I found it amazing how the founder was able to strike this balance between entrepreneurship and helping underprivileged parts of the community improve their lives,” Myles shared. “It helped me understand that social entrepreneurship was a great way to make capitalism impact-driven.” This model became a blueprint for Myles when he and other cofounders developed their own social enterprise, HelpBridge, just a few years later.

In its most original form, HelpBridge was an app and information sharing platform for migrant domestic workers; migrants could ask questions and connect with NGO communications officers. The goal was to provide workers with accessible information about their rights in Hong Kong. Once the app was up, running, and being accessed by over 2,000 migrant domestic workers across Hong Kong, Myles and his team reflected on their long-term goals for this young social enterprise. “I realized, especially when it comes to creating anything socially impactful, people, including myself, can be so obsessed with the solution without fully understanding the problem,” Myles explained.

To that end, migrant domestic workers had a prominent voice in deciding HelpBridge’s next move. Through a variety of conversations and surveys, it was clear that what workers needed was empowerment and the tools necessary to reintegrate back into their home communities as successful small business owners. Whether it was starting a family restaurant or tindahan convenience store, they were eager to contribute to their local economies and establish entities to help their families thrive for years to come. Thus, HelpBridge Academy was born. The social enterprise is now a hybrid business school that helps domestic workers learn advanced business. The curriculum, authored and taught by Myles, covers digital marketing, bookkeeping and accounting, budget planning, business planning, and business law. In the last year, about 3,000 migrant domestic workers have participated in the course and brought themselves closer to living successfully in their home countries.

Myles and HelpBridge’s growing success were recognized by the Hong Kong Jockey Club last fall when he was selected as one of the Inaugural Philanthropy for Better Cities (PBC) Fellows. “Ultimately, what I want to be is a leader who helps underserved people all around the world reach their dreams. I've seen how reaching one's dream can change a person’s life,” Myles reflected. “I’d love to be able to do that by the millions.”

如果你有機會認識黃忠文 (Myles)，他大概會形容 自己為一位教育創業家、人力資源專員與社區建設 者。然而，回到 2018 年，他只是剛踏入晨興書院的 一名一年級學生。 每年夏天，晨興書院都會舉辦前往摩洛哥的服務 學習之旅，讓學生有機會接觸當地專注於婦女權 益及具可持續發展理念的非政府組織及社會企業。 Myles 是 2019 年參與這個旅程中年紀最輕的學生之 一。他在當地認識了一間總部設於拉巴特、名為 Verdaterre 的社會企業，其致力將廢棄物品循環再 造，以製作出可讓本地農民使用的肥沃土壤。這次 經歷讓 Myles 意識到，原來社會企業亦可以具規模 地有效運作。他分享道：「我很驚訝，創辦人能夠在 營運企業及改善弱勢社群生活之間取得平衡，這讓 我明白，公益事業是一個能夠透過注入資本來貢獻 社會的理想創業模式。」而這個理念，日後更成為了 他創辦 HelpBridge的藍圖。 HelpBridge 最初是一個為外籍家庭傭工而設的應用 程式及資訊分享平台，讓她們可以提出問題、分享 資訊，並與非政府組織的工作人員聯絡，以了解自 己在香港的權益。推出後不久，已有超過兩千名外 傭使用。於是，Myles 與他的團隊成員開始思考這間 年輕社企的長遠發展方向。 「我逐漸意識到，在創造任何具社會影響力的項目 時，我們、包括我自己，往往會在未完全掌握問題 的本質就急於解決問題。」Myles 分享說。 因此，HelpBridge 特意邀請了一些外傭用家，為下 一步的發展出謀獻策。他們透過訪談及問卷，了解 這群工作者的真正需要。結果顯示，大多數人希望 獲得更多學習機會及實用技能，好讓她們回到家鄉 後，能夠成為成功的小型企業家。無論是開設家庭 餐廳或經營當地稱為「Tindahan」便利店，她們都希 望為社區作出貢獻，並為家人帶來更穩定的生活。 於是，HelpBridge Academy便應運而生。這所社會 企業現已發展成為一所涵蓋多個範疇的商業學校， 專為外籍家庭傭工提供進階商業知識課程。課程內 容由 Myles 編寫並親自授課，涵蓋數碼營銷、記帳 及會計、預算規劃、撰寫商業計劃書，以及商業法 律等。過去一年，約有三千名外傭參與課程，幫助 她們邁向在家鄉安居樂業的道路。 HelpBridge 的成就亦獲得社會認可。去年秋季， Myles 獲香港賽馬會選為香港國際慈善論壇首屆學 人計劃的行業領袖之一。Myles 表示：「我希望成為 一位能夠幫助世界各地弱勢社群實現夢想的領袖。 因為我曾見證，一個人實現夢想後，人生會因此徹 底改變。」他續說：「如果我能夠幫助成千上萬的人 走上這條路，那將會是我的最大心願。」 26

ALUMNI NEWS

JAMES A. MIRRLEES POSTGRADUATE SCHOLARSHIP AWARDEE: MAXWELL CHOI 莫理斯研究生獎學金得獎者：崔晉彥 The James A. Mirrlees Postgraduate Scholarship was established to create opportunities for Morningside graduates to pursue advanced postgraduate studies in the UK and Ireland. This year, the College is pleased to announce that Maxwell Choi ‘24 is the first recipient of this award. Maxwell will continue his studies this fall in the Neurosurgery MRes program at University College London Queen Square Institute of Neurology.

成立莫理斯研究生獎學金的目的，是為晨興書院的

During his time at CUHK, Maxwell studied Medicine (MBChB) and graduated with bachelor’s degrees in both Medicine and Surgery through the Global Physician-Leadership Stream (GPS), but he credits his ability to think in critical and complex ways to experiences he had at Morningside. “I vividly remember one communal dining experience with fellow Morningsiders studying architecture, biomedical engineering and fine arts,” he recalled. “That conversation first led me to conceptualize the human skull base as a structure with intricate corridors carrying blood vessels and nerves, akin to a building’s inner framework. The challenge of skull base surgery, I thought, would be to navigate these corridors to reach a target without causing collateral damage.” This discussion with his peers over communal dinner sparked his interest in using advanced neuroimaging to plan minimally invasive pathways to treat deep-seated brain tumors.

在中大求學期間，Maxwell 主修醫學課程，並透過

The College looks forward to following Maxwell’s progress and is deeply grateful to our donors for ensuring that Professor Mirrlees’ belief in the power of research lives on.

晨興書院期待見證 Maxwell 未來的發展，並衷心感

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畢業生提供遠赴英國及愛爾蘭深造的機會。今年， 書院欣然宣布，2024 年畢業的崔晉彥（Maxwell）成 為了此獎項的首位得主。他將於今年秋季前往英國 倫敦大學學院屬下的皇后廣場神經科學研究所修讀 神經外科碩士研究課程。

環球醫學領袖培訓專修組別同時獲得醫學與外科學 雙學士學位。不過，他認為自己之所以能夠建立批 判性及複雜的思維方式，與他在晨興書院的經歷密 不可分。「我仍然清楚記得一次在書院與幾位分別主 修建築、生物醫學工程及藝術的同學共膳的情景，」 他回憶道：「那場對話讓我首次將人類顱底想像成一 座建築物的內部結構，血管與神經如同錯綜複雜的 走廊。顱底外科手術的困難之處，在於如何穿越這 些區域直達病源，同時避免對周邊組織造成損害。」 那次與同儕的共膳對話，激發了他思考如何利用先 進的神經影像技術，來為專門治療深層腦部腫瘤的 微創手術進行規劃的興趣。

謝各位捐贈者，讓莫理斯教授深信科研力量的信念 得以延續。

Giving Back Two alumni made generous donations to the college recently. The first, who has asked to remain anonymous, helped bridge the final funding gap for The James A. Mirrlees Postgraduate Scholarship Fund. In a note to the College, the former science student wrote that “It was only with the College’s trust and support that we could freely experiment and build something special together, so thank you for making this fantastic journey possible for all of us.”

回饋書院 近日，書院獲得兩位校友的慷慨捐款。第一位要求 匿名的校友捐助支持「莫理斯研究生獎學金基金」， 填補了基金的缺口。這位理科生還附上了感言：「多 得書院的信任和支持，我們才能自由地去實驗創 新，一起建立出一些特別的東西，所以很感謝書院 讓我們所有人都能夠實現奇妙的旅程。」

第二位捐款校友耿雲帆（計算機科學，2020）出資資 The second donor, Geng Yunfan (Computer Science, 2020), will fund 助年度交流計劃獎學金。耿校友現於美國的 Meta an annual exchange scholarship. Geng works as a Software Engineer 擔任軟件工程師。在中大期間，他亦曾獲得書院的 at Meta in the United States. While at CUHK, he received an exchange scholarship from the College to pursue studies at McGill University. The 獎學金資助前往加拿大麥基爾大學交流，這段經歷 experience inspired him to pursue a postgraduate degree and a career 更啟發他後來到北美攻讀研究生和工作。耿校友表 in North America. Geng noted that “…it is Morningside College and the 示：「全靠晨興書院和交流計劃讓我能夠擁有現在的 exchange programme that led me to the life I live now, so why not give 「 雲帆海外交流獎學金」 Olivia Zhong ‘22, Joshua Ngai ‘14, Kelvin Choy ‘16, and Poh Chaichon Wongkham ‘21 生活，為甚麼不回饋呢？」 back?” The Yunfan Exchange Scholarship is established to encourage 由左至右：鍾涵（2022 年）、魏俊（2014 年）、蔡君恒（2016 年）、Poh Chaichon Wongkham （2021年） 的成立，正是為了鼓勵學生踏上交流之旅，即使面 students to embark on their own exchange journey and to maintain an 對困難重重的挑戰，仍然保持樂觀積極的精神。 optimistic and positive spirit even in challenging circumstances.

MCAA PRESENTS: ALUMNI MENTORSHIP SERIES 晨興書院校友會呈獻：校友師友系列 The Morningside College Alumni Association (MCAA) is working hard to cultivate productive, consistent, and long-lasting relationships between current students and alumni. Over the course of the 2024-25 academic year, the MCAA hosted a series of small discussions; alumni with varying professional experiences proved how having diverse interests during undergraduate studies can translate to the workforce.

Full of entertaining stories, embarrassing moments, and lessons learned, the Alumni Mentorship Series left current Morningsiders with thoughtful advice and new perspectives through which to think about their own futures. The MCAA plans to use the momentum brought by the Series to establish a more personal mentorship program between alumni and current students in the coming year.

Thiha Chi ‘23 and Ishmam-Ul Haque 池文龍（2023 年）and Ishmam-Ul Haque（2025 年）

晨興書院校友會（MCAA）致力為晨興學生與校友之 間建立穩定、持久且富成效的聯繫。在2024-25 學年 期間，校友會舉辦了一系列小型分享會，邀請了來 自不同專業領域的校友參與，以展示大學期間所涉 獵的多方面興趣，如何能轉化為職場的實戰經驗。 透過這個師友系列，校友分享了不少趣事、一些難 以作出抉擇的往事與成長經歷，為晨興學生帶來寶 貴的建議，並啟發他們從多角度思考自身未來的發 展方向。透過過去的經驗，MCAA 計劃在未來一 年，進一步推出更個人化的師友配對計劃。

Vimbai Mangwiro ’20 and Anju Otsuka ’20 Vimbai Mangwiro（2020年）與大塚安珠（2020年）

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CONTRIBUTORS 作者 Serag Heiba graduated from The Chinese University of Hong Kong in 2023 with a BEng in Energy and Environmental Engineering.

This is Serag’s first year as a Morningside Junior Fellow.

Serag Heiba於2023年畢業於香港中文大學，獲能源與環境工程學士學位。今年是他第一年擔任晨興通識教育導師。 Kaitlyn Roukey graduated from Saint Michael’s College in 2020 with a BA in Secondary Education and English. This is Kaitlyn’s third year as a Morningside Junior Fellow.

Kaitlyn Roukey於2020年畢業於聖邁克學院，獲得中學教育和英語學士學位。這是她第三年擔任晨興通識教育導師。 Ekaterina “Rin” Tsavalyuk graduated from Wellesley College in 2024 with a BA in Economics and French. This is Ekaterina’s first year as a Morningside Junior Fellow.

Ekaterina “Rin” Tsavalyuk 於2024年畢業於美國韋爾斯利學院，主修經濟學與法語。今年是她第一年擔任晨興通識教育導師。

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