2014 Music for “Music for Even/Odd” for Electronics, in collaboration with Ivanhoe Lam, Hong Kong Arts Festival 2013 “Decades” for piano, in collaboration … Continue reading →
Award-winning composer Alain Chiu’s 趙朗天 music has been performed in concert halls and festivals throughout the world, including performances in … Continue reading →
Teaching has became one of my passions: I have the great pleasure to the success of many of my students, … Continue reading →
2013年 11月15-16日(Fri- Sat )
$120 ; $50 (限量全日制學生票)
94923673 (Vinci’s mobile)
川本裕子 Yuko Kawamato
Eric Chan、Christopher Lai
Tse Hiu Yu
及後於2012年，形藝祭更與亞洲民眾戲劇節協會合辦了兩次由日本Katsura Kan的舞踏工作坊、Butoh Jam「舞踏重生」演出及8月初香港首次邀得日本資深舞踏藝人Katsura Kan為「好奇的魚」編舞及一眾中國、韓國、馬來西亞、日本、香港的舞者作協作交流演出。同年，形藝祭於「這一代六四」主持了「從6.4文字出發，以身體吶喊」街頭工作坊及舞踏/ 形體演出，務求令年青新一代嘗試從文憲反思和檢討、檢拾自己。形藝祭亦聯同部份璃琉舞踏的學員為「JCCAC四年來回展」在石硤尾賽馬會創意藝術中心作免費公開工作坊及大堂演出「來回」。
其後在民間起動的首屆「香港藝穗民化節」的節目「形藝祭2012」，創作了一個從詩出發的音樂、錄象、燈光裝置、即興舞蹈跨媒體的結合：「Trace of Entanglement 」演出，與著名音樂人Wilson Tsang、Nelson Hiu、Les Fong、Eric Wong、Bjorn Ho及錄象Roy Lee、燈光設計Amy Chan還有舞者Vinci Mok、有耳非文在Hidden Agenda來了一次互動。形藝祭2012亦舉辦了「長洲環境作動藝術之旅」，讓觀眾親身感受藝術與社區的關係。
2013年4月，形藝祭邀得來自德國的大師級舞踏藝人Yumiko Yushioka來港辦工作坊及與Wilson Chik及莫穎詩協作了「Butoh Invasion」舞踏演出。於2013年1月至6月期間，形藝祭先後3次引進駐倫敦的希臘即興舞蹈老師Vangelis Legakis來港為香港舞者或劇場朋友籌辦工作坊，介紹「接觸即興技巧」、「Flying-Low technique」及「文字跟即與演出的關係」 及「氣功五行跟接觸即興的技巧協調」等。
二次大戰後，第一代舞踏是從長崎廣島被壓在斷垣殘壁下的人屍吸允而來的靈感，舉手投足之間，也就不經意地反映出當時的某些大時代的社會狀況。曾隨德國Mary Wigman研習舞蹈的土方巽Hijikata Tatsumi 在50年代與舉世知名的大野一雄均被視為暗黑舞踏（Ankoku Butoh）的先驅。其從日本人身體與風土出發創造出來的低重心、蟹型腳、非統合與不自主的肌肉卷曲及內縮的身體、匍行、扭曲歪斜的表情，以至將偶發行為、新達達主義的反藝術觀念、超現實主義的痙攣/震撼的美感（Convulsive Beauty），併合的想法都改寫並挑戰了當時既有的單一舞蹈形式與觀念。而他那套的所謂前日本人身體形態的表演美學，更實行以黑暗的精神態度，去對抗資本消費主義化與都市化的理性中心主義，並否定及反思一些社會的標準與道德慨念，遠超一個舞者的該有的行為態度。
<Between Red and Pink in Butoh Light>
HK People Fringe Festival 2013 Programme
Moving Arts。HK presented
Fragile Butoh co-presented
We have been accustomed to enjoying a show in the most comfortable and safe place, yet we have forgotten creation is an imitation of arts, which should keep trying, creating and challenging the past interpretation and media of expression.
Butoh dance in sexuality and erotic issue under the blurred area and between that red or white in your own shadow.
People all feel hyper with their curiosity for something hidden and blinded.Come and see how you can be teased by the reality in our breathless society.
15-16 Nov (Fri-Sat)
Tong 3, 716 Shanghai Street,Prince Edward
(Exit C at Prince Edward MTR station/across to Arran Street & Shanghai Street,an old building beside a Pawn shop )
Entry fee :
$120 ; $50 (Limited F/T Student ticket)
94923673 (Vinci’s mobile)
Featuring Japanese Butoh Dancer/
Creative Hong Kong Dancers/performer
Vinci Mok,Kwok Ka Yuen ,Max Lee,Franky mcnugget
Guest Impro Vocalist:
Eric Chan,Christopher Lai
Au Yeung Sam,Stella Tsui
Tse Hiu Yu
artistic Concept/technical consultant:
About Moving Arts。Hong Kong and HK Moving Arts Festival 2013
Established in November 2010, Moving Arts。Hong Kong aim to express ideas to audience of all backgrounds with the most basic, direct and honest bodies in a non-language-driven world / non-demarcated physical art.
Moving Arts。Hong Kong first happened because of a Movement Festival at On and On Theatre,Cattle Deport,To Kwa Wan which can first have both disable/ handicap artists and performers with a sound body and mind.And even we cannot have very good feed back in box office at final that time in 2010,but we at lease provided a platform or chance for all talented local or Asian artists who are good in mask performance,mime,improvisation dance,physical theatre,Butoh…etc without any boundaries. We hope that performers can revisit the essence of “form” and “dynamics” with the audience in each performance. We also encourage performers to explore more on the possibilities of movement in the collaborations with different media artists.Recent productions include Hong Kong’s first Asian Butoh Collaborative performance <Curious Fish> with young or experienced Butoh dancers from Malaysia , Korea, Japan, New York, Mainland China in August 2012 ; <Butoh Impro Jam –Featuring Katsura Kan> in may 2012; <Cheung Chau Moving Art Tour> and a cross media jamming with live music,poems, dance,video performance <Trace Of Entanglement> with famous and active impro musicians Wilson Tsang,Nelson Hiu,Les Fong,Eric Wong,Bjorn Ho+ Hong Kong well known Photographer, Roy Lee+Lighting designer,Amy Chan+ Dancers ,Vinci Mok、Faye Ko at a live house Hidden Agenda for Hong Kong People’s Fringe Festival 2012.
In April,2013，Moving Arts。Hong Kong invited a Germany based Japanese world well known master class Butoh dancer,Yumiko Yushioka coming Hong kong for holding a few days intensive workshop and working out a super good feed back and rensponse halfly improvised Butoh Performance <Butoh Invasion> with local Wilson Chik and Vinci Mok from Hong Kong.And in between January to June, Moving Arts。Hong Kong also invited an experienced contact improvisation London based Greek dancer, Vangelis Legakis coming and managed workshops with the topic : Contact improvisation, Flying-Low technique,Improvisation in the relationship with text or performance for both amateur or professional dancer/theatre performers.
The TRI-lateral Project (Music: Alain Chiu, Dancer: Max Lee/ David Leung, Drama: Yau Chung Wai) had its inaugural performance at one of the most iconic underground club Sense 99 in November 2013.
Founded in 2013 by Alain Chiu, Max Lee (choreographer) and Yau Chung Wai “Frankie McNugget” (Dramaturge), the mission of the project is to incorporate live music, drama, dance and visual arts from the very beginning of the creative process in order to create a total theatrical experience. The TRI-lateral Project also performed at 2013 People’s Fringe Festival.
Why learn to read music? Why not CD?
It is often said that music is an elusive form of art, the emotion and message conveyed are often subjective and perplexing for an untrained person. However, if one looks more closely, you will find that the method to notate the so-called “elusive form of art” is highly systematic and logical.
It is important to understand that before the introduction of recordings and various music distribution channel radio, CDs, iTunes etc, sheet music is the only way for anyone to learn a piece of music other than attending a concert. The ability to “read” music has thus becoming a very essential skill. Some might argue that even today, “reading” sheet music is still the only way to truly learn the intention of the composer.
You process the information given by the composer by combining cognitions from your sight and internal vocalization (fancy term for humming a tune to yourself). Such processed information provides a more powerful tool for your brain to “learn” than relying solely on audible information, which can often be deceiving.
One should be able to find enough information, given the skills of the composer is adequate, to perform or understand a piece of music just by looking at the score. I will discuss a few basic elements of a score over the next few weeks. Stay tuned for upcoming entries when we will discuss about the staff notation and clefs!
In this series, I will explore some of the basics of music theory that you need to know in order to be able to explore and further appreciate the craft of the art.
I will make also tell you the more obscure, little known side of the topics covered so that some of the more advance readers will have something to take home.
This series is in no ways comprehensive of course, but my aim is to try to give you the fundamental needed to go forward in your music learning, appreciation, analysis, performing, composition journey.
As always, please feel free to leave comments, start a discussion or send me suggestions of topics you want me to cover.
Although I was only responsible for part of the music for this film, (It is unlikely that anyone will mix up Stravinsky’s music with mine) it is still a very amazing thing to have my music played in front of the audiences of this year’s Cannes Film Festival. There will be more showings around the world this year, congratulations to director Maurice Lai and his team for the success thus far.
Originally posted on Soundgoods Creatives:
A good friend of ours, Maurice Lai (黎宇文) has recently completed his new dance film, 城市祭 ‧ 回望 Rite of City -Reminisce, about Tainan and the problems it faces in the wake of rapid urbanisation. This dance video has been shown in Hong Kong, Taiwan with many prospective showings to come.
Warm congratulations to the fine work from Maurice. Soundgoods loves local artists, we love the idea of being in the creative process and offering our advice to make the project more fulfilling.
Salute to one of our favorite dance video directors in Hong Kong!
My second collaboration with choreographer Max Lee and the HKAF results in “Spasms”: a new piece for prepared piano, violin and percussions.
The Series continues to promote contemporary choreography and cross-discipline collaborations in Hong Kong. This year, 11 gifted choreographers are featured in six innovative new dance works, set to music by local composers.
I am joined by my friends and good musicians Louis Siu (percussions), Eric Chan (violin) along with dancer Alice Ma and Dramaturge Franky McNugget and have created a work on autism and how we all have a little bit of something we want to safely guard within ourselves..
For more information, please visit: http://www.hk.artsfestival.org/en/programme/206-hkjc-contemporary-dance-series#about-this-programme
I look forward to seeing some of you there!
Showcasing Hong Kong’s latest generation of dance talents, highlighting the energy and enthusiasm in HongKong’s contemporary dance scene.
Programme 1 (24-25 Feb) Presenting a myriad of dance styles set to contemporary instrumental, electronic and ensemble music all written by local composers. The dancers explore life — how we enter and leave it, and how possessions enter and leave our lives.
Max Lee A dancer, choreographer, actor and video artist, Lee studied at London Contemporary Dance School and now works in theatre and video productions. With an existentialist theme, his piece questions our relationships with one another — how we go unnoticed, how we are controlled and how we can feel so much pain without being physically hurt.
24 February, 8:15pm
25 February, 3:00pm
25 February, 8:15pm
Studio Theatre, HK Cultural Centre
View seat plan
Hong Kong-born Louis Siu takes centre stage on timpani unveiling a spectrum of dazzling percussive sounds unique to these drums.Together with his friends on Chinese and Western percussion, Siu takes the audience on a sonic journey exploring the rhythms and timbres of their instruments with mesmerizing music. With numerous awards for his outstanding performances, Siu has played in Asia, Australia and the US. His dedication to performing contemporary music has led him to premiere compositions by various modern composers. In this recital, Siu will perform newly commissioned compositions by Alain Chiu and Austin Yip, alongside dramatic and frenetic pieces by Elliot Carter and William Kraft.
View seat plan
Elliot Carter Excerpts from Eight Pieces for Solo Timpani Ross Edwards Marimba Dances for solo marimba Dave Hollinden Cold Pressed for solo percussion Alain Chiu Resonantia Part 1 (world premiere) Austin Yip Resonantia Part 2* (world premiere) Toshi Ichiyanagi Rhythm Gradation for solo timpani Alex Orfaly Rhapsody No 2 for solo timpani William Kraft Timpani Concerto No 1 (arranged for piano and percussion ensemble) Percussion LOUIS SIU^ CHAU CHIN-TUNG^^ RIEKO KOYAMA^^ VICKY SHIN
Piano CYNTHIA CHAN * Commissioned by the Hong Kong Arts Festival with support from CASH Music Fund ^ By kind permission of the Macao Orchestra ^^ By kind permission of the Hong Kong Sinfonietta