Ambassador for Cultural Promotion Tan Dun envisions Hong Kong as a global hub for East-West cultural exchange and prioritises talent development
- Since assuming his role earlier this year, the maestro has made it a priority to nurture promising young artists in Hong Kong and organise large-scale arts events.
- Tan, through diverse initiatives, is committed to enriching the stage experiences of artists beyond Hong Kong and equipping them with a global perspective.
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Tan’s efforts to showcase Hong Kong talent on significant international and domestic cultural stages, including performances in the Edinburgh International Festival and the Holland Festival, have been met with resounding success.
Several performances by the local artists, alongside eminent arts groups, have garnered glowing reviews, says Tan, an internationally acclaimed, multi-award-winning composer and conductor, with his famous works include the film scores for Crouching Tiger, Hidden Dragon and Hero.
Most performances of the Hong Kong artists outside of the city have been supported by the Leisure and Cultural Services Department (LCSD).
In December of last year, Tan accepted a five-year appointment as the newly created Hong Kong’s Ambassador for Cultural Promotion (ACP), a role integral to the government’s strategy to transform Hong Kong into an “East-meets-West Centre for International Cultural Exchange”. This position, bestowed upon him by the Culture, Sports and Tourism Bureau, aligns with the objectives outlined in the National 14th Five-Year Plan.
Apart from investing in upgrading cultural hardware and curating large-scale events, the success and influence of a cultural centre hinge on the talent it nurtures. This is also a belief strongly held by Tan, who is deeply committed to fostering the growth of promising young artists. “Working with these talented individuals is a rewarding experience,” he shares. “Their creativity breathes new life into my own, providing me with a constant source of inspiration.”
Over the past year, Tan has been dedicated to recommending a handpicked group of young Hong Kong artists for substantial performance opportunities with esteemed arts groups. The maestro reveals that he has been moved by the top international critics’ overwhelmingly positive reviews of performances by Hong Kong artists. He says, “Many have been awarded five-star ratings. This is an unprecedented experience for me.”
Tan highlights the versatility and dedication of soprano Candice Chung as an example. She delivered a remarkable performance at the world premiere of Tan’s Requiem for Nature at the prestigious Holland Festival in Amsterdam, which took place last June and July. “Candice undertook four roles in the opera, all in Cantonese. She devoted two months to studying Cantonese opera to attain perfection,” says Tan.
In the “From Beethoven to the First Emperor” concert held in Xi’an last July, Tan invited violinist Nina Wong, cellist Jia Nan, and pianist Rachel Cheung to perform Beethoven’s Concerto for Violin, Cello, and Piano in C Major. They performed under his baton, alongside the Xi’an Symphony Orchestra. “The audience was captivated by their elegant presence and exceptional performances,” Tan notes. “The high-calibre performances delivered by these young artists from Hong Kong are a testament to the city’s high-standard arts education.”
.jpg?itok=bbY_cVfo "On stage with maestro Tan and the Xi’an Symphony Orchestra in Xi’an: (from left) Nina Wong, Rachel Cheung and Jia Nan.")
Tan is also a UNESCO Goodwill Ambassador. He is the Dean of the Bard College Conservatory of Music in New York and an honorary artistic director of the China National Symphony Orchestra.
Young talent share insights
Under Tan’s guidance, the young artists from Hong Kong have sparkled on stage and earned high praise from critics. “Among the soloists, soprano Louise Kwong and mezzo-soprano Samantha Chong were exhilarating,” reads a review by The Scotsman of the opening concert, Buddha Passion, at the Edinburgh International Festival.
.jpg?itok=FME47zNM "Curtain call at the Edinburgh International Festival, Samantha Chong (second from left), maestro Tan Dun (third from left), Louise Kwong (second from right), and Chen Chen (right).")
Kwong cherishes the opportunities she had to perform in Buddha Passion alongside Tan and tenor Chen Chen, with productions taking place in Fuzhou in April and later in Edinburgh. These experiences have broadened her artistic perspectives, making her realise that different interpretations of the same work can evoke unique emotions.
“In Fuzhou, I performed with a Chinese choir who had a deep understanding of the story’s nuances. They were able to convey the passion and drama from within,” Kwong reflects. On the other hand, the Edinburgh Festival Chorus, composed of mature singers, adopted a more gentle and tender approach.
Performing at the Edinburgh International Festival has been a dream come true for Chong. “The festival first came to my attention when I was a student at the Hong Kong Academy for Performing Arts,” shares Chong. She also reveals that she soaked in the incredible artistic atmosphere that pervaded the entire city during the festival.
Candice Chung recounts her performance at the Holland Festival as a humbling experience. Her collaboration with the globally acclaimed Royal Concertgebouw Orchestra and interactions with the legendary opera director, Pierre Audi, have left her in awe. She has learned from his professionalism, straightforward attitude, swift work pace, and high standards. “As a native of Hong Kong, I take pride in performing in Cantonese on an international stage,” says Chung.
.jpg?itok=HMaARb69 "Candice Chung (second from right) performed at the Holland Festival.")
The performance by musicians Nina Wong, Jia Nan, and Rachel Cheung elicited thunderous applause from the audience at a concert in Xi’an, often considered the cradle of Chinese culture. Their subsequent visit to the UNESCO site, the Mausoleum of Emperor Qinshihuang, inspired them to delve deeper into the roots of Chinese culture and its profound influences, Wong shares.
Cheung, who visited the UNESCO site for the first time, found it an eye-opening experience. She was struck by the meticulous attention to detail evident in the terracotta warrior sculptures. “This has greatly influenced my artistic approach,” she adds.
Inspiration and innovation
In addition to enriching young artists’ outbound performance experiences, maestro Tan pursues other initiatives in his capacity as ACP, some promoting drawing inspiration from tradition, others innovation. Earlier in 2023, Tan invited two young artists, who are also doctoral students from the Hong Kong University of Science and Technology, including Koo Ke, to conduct a study tour to Nushu village of his native Hunan Province during 2023 Jiangyong Nushu International Music and Tourism Week, a festival for which Tan serves as the artistic director. “Nushu” (women’s script) is an ancient script used exclusively by women, passed down from mother to daughter, a unique phenomenon in human cultural history. The script has been listed as a national intangible cultural heritage. However, it is on the brink of extinction.
The two artists were later invited to participate in the commission of the China Shanghai International Art Festival’s Rising Artists’ Works, where they collaborated with artists from New York and Shanghai, combining multimedia and AI technology with music to produce the musical Re AI (還AI).
Tan Dun also curated the “Tan Dun WE-Festival”, presented by the LCSD on 6-10 December, revealing brand-new approaches to music, dance and visual arts.
Given the positive feedback on the outbound performances of Hong Kong artists, the government is set to continue its support and other initiatives aimed at transforming the city into a hub for international cultural exchange where East meets West.