Cantonese Opera Appreciation Series: Lecture I: “The fate of Princess Changping – History vs. Drama”(帝女如花 – 談歷史與戲劇中的長平公主) at UMAG, HKU

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to organize a series of lectures and backstage visits prior to attending the following Cantonese Opera performances: 

I         The Floral Princess《帝女花》 (Jun 16)

II        The Tale of the Purple Hairpin《紫釵記》 (Jul 24)

The lectures are given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

Note: The date for Lecture II: “The Tale of the Purple Hairpin – A Glimpse of the Allure of Chang’an during the Tang Dynasty” is to be announced.

We will visit theatre backstage to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer 

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

 

Cantonese Opera Appreciation Series: Performance: “The Floral Princess” (Youth Edition)《帝女花》(青年版) at City Hall, Central

Originating from Southern China’s Guangdong province, Cantonese opera represents a significant part of Chinese opera.  It is a traditional Chinese art form which incorporates stories drawn from Chinese history and iconic Chinese classics and myths.  Being a multi-disciplinary art form, Cantonese opera often involves music, singing, martial arts, acrobatics, and acting. 

Further, the philosophies and culture of the Chinese people are infused in the plays, often reflecting virtues such as loyalty, love, patriotism and faithfulness.

To help its appreciation, the HKU Museum Society is pleased to organize a series of lectures and backstage visits prior to attending the following Cantonese Opera performances: 

I         The Floral Princess《帝女花》 (Jun 16)

II        The Tale of the Purple Hairpin《紫釵記》 (Jul 24)

The lectures are given by two experts in history, arts and culture, Ms. Lee Meiyin & Dr. Irene Tsang. Performing artist 李沛妍Ms. Li-Pui-yan, will be at the lectures to add perspective as the leading lady.

Note: The date for Lecture II: “The Tale of the Purple Hairpin – A Glimpse of the Allure of Chang’an during the Tang Dynasty” is to be announced.

We will visit theatre backstage to see Performing artist李沛妍Ms. Li-Pui-yan dressed and make-up for her female role in the Cantonese Opera performance.  The performance will be in Cantonese with Chinese and English subtitles.

 

Speakers   講者簡介

Ms. Lee Meiyin’s areas of research include the history, art and costumes of the ethnic minorities of China, Buddhist art, Dunhuang art, silk and embroideries. She previously served as HKUSPACE guest lecturer (2000-2010), as well as a member of the Intangible Cultural Heritage Advisory Committee. She is currently a specially appointed research fellow of Dunhuang Academy, and Vice President of the Friends of Dunhuang (Hong Kong). She also serves on the Board of Dunhuang Grottoes Preservation and Research Foundation of China, and as an expert advisor to the public museums of Hong Kong.

李美賢女士的研究範圍包括中國少數民族(民族史與服飾)、佛像藝術、敦煌藝術、絲綢與刺繡(歷史與賞析)。曾任香港大學專業進修學院導師(2000-2010),香港非物質文化遺產諮詢委員會委員。現任敦煌研究院特聘研究員、香港敦煌之友副主席,也是中國敦煌石窟保護研究基金會理事、香港博物館之專家顧問。

Dr. Irene Tsang obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. After completing her doctoral degree, she taught Chinese culture and art history in City University of Hong Kong and Hong Kong Polytechnic University. Later on, she joined HKU SPACE and held the position of Programme Director of Art and Design, devoting efforts to promoting art and culture through continuous education.

Dr. Tsang’s research interests include Chinese theatre history and ancient Chinese performing arts. She has been a fan of Chinese xiqu since early age, and is still practicing Cantonese opera singing as a hobby.

曾舜寧博士在英國倫敦大學亞非學院 (SOAS) 取得碩士與博士學位,主修考古學與藝術史。畢業後,曾博士在香港城市大學及香港理工大學任教,教授中國文化和藝術史等課程。随後她加入香港大學專業進修學院,擔任藝術及設計科課程主任,致力透過持續教育推廣文化與藝術。

曾博士的研究興趣包括中國戲劇史及中國古代的表演藝術。她從小便熱愛中國戲曲,至今仍不時操練粤曲以娛己。

 

Performer 

Born in New York from a family of Cantonese opera heritage and a graduate from Wellesley College, Li Pui-yan has been taught by numerous famed Cantonese opera performers.  Since her debut as principal actress in Floral Princess (Youth Edition) in 2007, she has performed for the Hong Kong Arts Festival, Chinese Opera Festival, Macau Arts Festival as well as the benefit inaugural performance at ASHK’s Miller Theatre.  Her repertoire ranges from classics to new productions such as Deling and the Empress Dowager Ci Xi and Arrant Revenge, and adaption of Shakespeare’s Hamlet.  Recently, through working with artists from other disciplines, such as Ming Wong and Mariko Mori, she is inspired to further explore the cross-disciplinary potential of this traditional art form.  Aside from performing, Li is devoted to the English translation of Cantonese opera librettos and has served on the Cantonese Opera Advisory Committee in Hong Kong for various terms.

Guided Gallery Visit: “Recovery, Resilience, Resurgence” at Asia Society

Join us on a special gallery tour led by Joyce Ng, Head of Gallery and Exhibitions at Asia Society.

Asia Society Hong Kong Center’s current exhibition, Recovery, Resilience, Resurgence, showcases photos of old Hong Kong. The images span some thirty years of great change: from the postwar recovery in 1946 – 1947, through the resilience of the 1950s, to the resurgence of the 1960s – 1970s. These historical photographs were taken by three photographers, Hedda Morrison, Lee Fook Chee, and Brian Brake. Each had markedly different life backgrounds and photographic objectives.

Furthermore, in 2022 Asia Society celebrates a decade of guardianship of the heritage site in Admiralty. Since 2012, Asia Society has hosted a variety of arts and culture, business and policy programming and exhibitions for the community. 

More information about Asia Society’s photography exhibition can be found here:
https://asiasociety.org/hong-kong/exhibitions/recovery-resilience-resurgence-fusushengxinizhongqiucunzhongzhenqigu

Guided viewing of two exhibitions at H Queen’s: William Lim: “Willows Dark Flowers Bright” & Woo Kukwon: “Carnival” at Tang Contemporary Art

The HKU Museum Society is pleased to present two guided viewings at the H Queen’s. The first exhibition “Willows Dark Flowers Bright” will be personally guided by William Lim, the artist himself. The second exhibition Woo Kukwon Solo Exhibition will be guided by Charlotte Lin, a specialist at the Tang Contemporary Gallery.

William Lim: “Willows Dark Flowers Bright”

The title of the exhibition comes from a Song Dynasty Chinese poem that alludes to the serendipities experienced in life. During the lockdown, the artist develops a strong respect for the strength and resilience of plants. It has inspired him to tell stories through his paintings, which are both real and expressionistic. He records through his paintings the reality around him, and the voyages in his imagination. As we slowly come out of the fifth wave of the pandemic, his paintings are starting to project a brighter future.

Woo Kukwon Solo Exhibition

The exhibition begins at the Garden of Eden with humans portrayed in their purest state. Before mankind tasted the forbidden fruit (of good and evil), they were as innocent as babies sleeping in their cradle. However, it is a rite of passage for a person to break away from innocence and face the rough and rugged paths of life in order to grow and build their own world. Such turning points have been presented in countless stories in various forms. Here, the artist adopts the Flood myth depicted in the Old Testament to develop a theme that moves through the entire exhibition.

Artist Talk with Chun Wai (Conducted in Cantonese) & guided visit to “Adrift in Time – Photography by Chun Wai”

This exhibition presents the artistic work of Chun Wai created in France in the 1980s-1990s. Adrift in Time—Photography by Chun Wai displays a photographic record of the past and the passing of time. Born in Hong Kong and educated at the École supérieure des beaux-arts de Mulhouse in France, photographer Chun Wai toured Europe on a quest for the beginning of time, understanding that everything he photographed had a finite start and end.

This physical and philosophical journey caused the artist to realise that his insights into the relationship suspended between predestination and chance were leading to an expansive form of loneliness—a state he felt was similar to the torment experienced by the ancient Chinese poets. Chun wandered the streets and alleys of great cultural centres like Paris discovering the collections of its great museums, art galleries and flea markets, along with the vast memories contained within, preserved and passed on through the course of time.

For thirty years, Chun kept his images of France stored away in a box, as if preserving these treasured memories in a corner of time; a souvenir from which he can now extract memories. Since the ’90s, some of the negatives have deteriorated to the point that the original images are no longer recognisable. They have become tangible illustrations of the passing of time, while the artist’s memories reactivate his endless associations. Whereas it has been said that photography freezes time, Chun’s images and their varying states of damage attest to the flood of time. The reading of these images now leads to another journey, crossing the boundary between memory and forgetting, towards the subsequent truth of chaos.

時間的漫遊  秦偉攝影

此展覽為秦偉1980-1990年代於法國的藝術創作之結集。「時間的漫遊––秦偉攝影」展示了一組關於回溯過去及時間流逝的圖片記載。秦偉生於香港,畢業於法國米盧斯高等藝術學院。他曾遊歷歐洲,尋索時間的起源,領略所攝之事物,皆有定時,有始有終。透過這趟旅程,秦偉深悟人生乃在宿命與偶遇之間,頓感中國古代詩人飄泊孤寂之感。他遊走於文化之都––巴黎,穿梭於街巷、博物館、美術館和跳蚤市場,浪遊於浩瀚的記憶和時間的長河。

三十年來,秦偉將法國的影像儲於一個盒子內,猶如把珍藏的記憶存於時間長河一隅。相片如紀念品般,可從之擷取記憶。因相片攝於90年代,部分底片已破損,原圖已無法辨識,成為可觸及的流逝時間,亦同時激活藝術家的記憶,誘發他無盡的聯想。有說攝影可凝住時間,而秦偉的相片所受的各種破損,便是時間洪流的見證。現在來重溫昔日影像就如開展另一趟旅程,跨越記憶與遺忘的邊界, 步向混沌的本相。

(FULL)Private Viewing: #popcolours: The Aesthetics of Hues in Antiquities from the HKMoA Collection with Collector Anthony Cheung Kee Wee (Conducted in Cantonese)

The HKU Museum Society is delighted to be extended a private viewing of #popcolours: The Aesthetics of Hues in Antiquities from the HKMoA Collection with Collector Mr. Anthony Cheung Kee Wee and Assistant Curator of Chinese Antiquities Hilda Mak.  They will take us on a fascinating journey exploring the colourful world of ancient artefacts and exquisite craftsmanship.

“Once used as daily wares, artefacts often feature colours and patterns comparable in style and beauty to the modern designs of today.  Besides reflecting the personal taste of their owner, the designs of artefacts could also be influenced by religious beliefs, rules and etiquette, shaping the aesthetic trend of the times. In ancient China, a scheme of “five prime colours”, was commonly adopted, consisting of blue, red, yellow, white and black, which featured prominently in everyday life.”

More information about the exhibition can be found at:
https://www.lcsd.gov.hk/CE/Museum/Arts/en_US/web/ma/exhibitions-and-events/popcolours-the-aesthetics-of-hues-in-antiquities-from-the-hkmoa-collection.html

 

Baluster vase in Langyao glaze
Kangxi period (1662-1772), Qing dynasty
Ceramics
Donated by Mr. Cheung Kee Wee

CHAT Programme 2022: Mending and Sashiko Workshop & Curator Tour of Spinning East Asia Series II: A Net (Dis)entangled

The HKU Museum Society is delighted to organise a guided tour of Spinning East Asia Series II: A Net (Dis)entangled at CHAT. We will be guided by Wang Weiwei, the Curator of Exhibitions and Collections.

 

Spinning East Asia Series II: A Net (Dis)entangled

Titled A Net (Dis)entangled, the exhibition and second chapter of the Spinning East Asia Series features 16 groups of artists based in East Asia, or whose creative research revolves around East Asian topics. The participating artists approached their work with an open mind and from various angles with regards to textile culture, from its materiality, associated techniques, to subject matters and more.

More information can be found here:
https://www.mill6chat.org/event/spinning-east-asia-series-i-a-compass-in-hand/

Mending and Sashiko Workshop
Participants are invited to learn sashiko , a traditional Japanese decorative mending technique.

 

Speaker

Wang Weiwei is currently the Curator of Exhibitions and Collections at CHAT. From 2010 to 2017, Wang was the curator at the Museum of Contemporary Art, Shanghai (MoCA Shanghai). In 2017, Wang participated at the Curator-in-Residence Programme at the Kuandu Museum of Fine Arts in Taiwan, and the International Researcher Programme at the National Museum of Modern and Contemporary Art in Seoul, South Korea. Wang was then appointed as the co-curator at the 12th Shanghai Biennale and awarded an Individual Fellowship by Asian Cultural Council Hong Kong in 2018. She has conducted on a series of researches on East Asian Contemporary Arts since 2019.

(FULL) Culinary Journey to Lamma Island – Cooking Demonstration and Vegan Lunch with Israeli Chef Aleyet Idan

The HKU Museum Society is pleased to organize a culinary journey to Olive Leaf, the home and cooking school of Israeli chef Aleyet Idan on Lamma Island.  Our outing begins with a 20-minute ferry from Aberdeen to Lamma Island follow with a 10 minutes’ walk to her home.  Aleyet will welcome us with drinks and snacks in her idyllic garden. We will enjoy a day of Middle-Eastern cuisine with cooking demonstrations of vegan dishes (no meat) and lunch.  This will be one of the best Middle-Eastern dining experience in Hong Kong!

 

Remark:
Please note that only fully vaccinated (two doses) applicants will be accepted. 

[Cancelled] Overnight Trip: Tai O with Mr Wong How Man Hotel: Tai O Heritage Hotel (taking up the whole hotel)

The HKU Museum Society is delighted to organise an overnight trip to Tai O with Mr Wong How Man. We will stay overnight at Tai O Heritage Hotel.

 

Tai O

Tai O, was known as a Tanka village, has a history of salt production and fishing lifestyle. It is a community of fisher folk who’ve built their houses on stilts above the tidal flats of Lantau Island for generations. These unusual structures are interconnected, forming a tightly knit community that literally lives on the water.

 

Tai O Heritage Hotel

Tai O Heritage Hotel, former The Old Tai O Police Station, was graded as a Grade II historic building. It was conserved into a nine-room boutique hotel under Batch I of the Development Bureau’s Revitalising Historic Buildings during 2009 and managed by Hong Kong Heritage Conservation Foundation. In 2013, it was conferred the prestigious UNESCO Award of Merit for Cultural Heritage Conservation.

 

 

Resource Person

Wong How Man, Founder and President of the China Exploration & Research Society (CERS), was born and raised in Hong Kong, and educated in the United States in Journalism and Art.  Wong’s career in China began in 1974, first as a journalist during the tail end of the Cultural Revolution, later as an explorer/writer/photographer for the National Geographic, and since 1986 as head of the non-profit organization CERS.

 

He has led many multi-disciplinary expeditions first for the National Geographic and later for CERS. He has been credited with, among other accomplishments, the discovery of a new source for the Yangtze River. In 2002 Time Magazine chose Wong as one of its 25 Asian Heroes, calling Wong “China’s most accomplished living explorer.” He has also received many awards for his books and the conservation projects he conceived and directed. Supported by governments, foundations, individuals and corporations, his work has been disseminated widely by major international media, including Discovery Channel, BBC, CNN, National Geographic, ABC, CNBC, CCTV, etc.

[Postponed] Guided Viewing: Para Site’s 25th anniversary exhibition “Noble Rot”

To celebrate the 25th milestone of Para Site, the HKU Museum Society is pleased to present a guided viewing of Noble Rot, led by curator Celia Ho. The visit will include a live performance by Florence Lam, a Hong Kong performance artist.

Exhibiting artists also featured during our visit are: Herman Chan Ho Wang, Natasha Cheung, Chu Hoi Ding, Koel Chu Ka Kiu, Rannie Ip Ka Man, Man Ting Vanessa Lam, Hou Lam Tsui, and Wong Winsome Dumalagan.

Para Site is one of the most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society. Founded in early 1996 as an artist-run space, Para Site was Hong Kong’s first exhibition-making institution of contemporary art and a crucial self-organised structure within the city’s civil society, during the uncertain period preceding the Handover. Throughout the years, Para Site has grown into a rooted contemporary art centre with a permanent space, while engaging in a wide array of activities and collaborations with other art institutions, museums, and academic structures in Hong Kong and the international landscape. In early 2015, Para Site moved to greatly increased premises, in North Point/Quarry Bay.

All attendees are expected to wear a facemask throughout the entire duration of our visit. Para Site will also request guests to fill out a simple Google Form upon arrival. Thank you for your cooperation.

 

Installation view of Noble Rot Part One. Courtesy of Para Site, Hong Kong, 2021. Photo: Jeff Cheng Tsz Fung.