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Sue Green
The composer in residence at this month’s Hong Kong International Chamber Music Festival will see six of his compositions played, and hopes to show audiences how to appreciate new music
Expect something incredible when Sydney Dance Company and the Australian Chamber Orchestra appear together on stage at Kwai Tsing
There's always a risk when you work a few local gags into a comedy act, but Melbourne International Comedy Festival Roadshow performers reckon they'll be all right.
When Korean-American Sarah Chang takes the stage with the City Chamber Orchestra of Hong Kong on April 4, she will be performing a piece she learned as child.
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Deep in a dark Melbourne basement, far beneath downtown Federation Square, the video installations of renowned Chinese contemporary artist Yang Fudong play in a loop. It's an exhibition that Yang hopes will help stimulate new opportunities for China's up-and-coming artists to show their works to the world.
Macau-born filmmaker Tony Ayres focused on racial and personal identity in his earlier work, but he's branching out with a thriller, writes Sue Green.
The ensemble is ensuring its continued success by grooming a new generation to attract younger audiences, writes Sue Green.
Malaysian-born stand-up comedian Ronny Chieng faces a dilemma: does he offer the race-based humour audiences expect from a Chinese comedian, or does he take a more sophisticated approach?
On June 4, the 25th anniversary of the government crackdown on student protesters in Tiananmen Square was marked around the world.
For Xiaolu Guo, writing poses a constant challenge: containing the philosophical ideas which interest and preoccupy her in narrative form.
When Jia Zhangke’s latest film, A Touch of Sin, was released, critics were shocked. What happened to the sedate, somewhat meditative pace of his earlier works? And why the extreme violence?
