2022 “No Limits” Opening Messages and Programmes Highlights Press HERE
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Online Roundtable Discussion: Sustainable Practices in Nurturing Disability Arts
This online roundtable discussion will bring together local and overseas artists and community educators to share their stories and experiences in discovering and cultivating disability arts while exploring effective methods and directions for future sustainable practices.
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Austin Yip is a local composer whose works have been performed worldwide. His more recent compositions include Koto, a 30-minutes site-specific work for Rosetta Contemporary Ensemble and Kyoto Art Center; Eurydice, an hour-long video-dance collaboration with the International Video Dance Festival of Burgundy in France; Metamorphosis, a winner of the CASH Golden Sail Award, commissioned by the Hong Kong Philharmonic Orchestra; and Road Business, a marimba concerto for Jack Van Geem, the former principal percussionist of the San Francisco Symphony. Yip is a MacDowell Fellow (as a Gardner & Vail Read Fellow) and the recipient of Hong Kong Arts Development Council Award for Young Artist. His works have been published by Donemus (The Netherlands), and he is a lecturer at the Hong Kong Baptist University.
Keynote: Arts and Disability within a Cambodian Context
Anthony Evans, Co-Director of Epic Arts will lead the participants to explore the historical and cultural context of disability and arts in Cambodia, how Epic Arts using arts to raise the awareness and empower people in Cambodia and using arts to transform and develop artistic talent.
Speaker: Anthony Evans (United Kingdom) – Co-Director, Epic Arts
Anthony Evans is the co-director of the international inclusive arts non-profit organisation Epic Arts, based in Cambodia, where he has developed specialist knowledge in the engagement and employment of people with disabilities in the arts in Asia.
Evans began his career as a musician before becoming an assistant to the artistic director at Lichfield Garrick Theatre (UK), where he programmed events with bands such as Kasabian and Biffy Clyro. In 2006, he became the head of music at Ingestre Hall Residential Arts Centre, developing educational music workshops for young people with behavioural difficulties.
Kaynote: Can You See What I Hear? The Personal Story of Nurturing a Visually Impaired Musician in Taiwan
In 1998, John Vaughan, an American music professor living in Taiwan began teaching piano to a blind 11-year-old boy. Today, they are a successful music and comedy duo who educate, entertain, and astonish audiences with their unique blend of classical music and crosstalk. Vaughan will share the personal story with his pianist student, Hsu Tse-chen, the difficulties and how to overcome the obstacles.
Speaker: John Vaughan (United States) – Pianist, Professor at Soochow University
Dr. John Vaughan is an American pianist who lives in Taipei, Taiwan. A full-time professor of piano at Soochow University, he is also a performer, lecturer and writer whose activities span the divide between academia and popular entertainment. At Soochow University, where Dr. Vaughan has been professor of piano for nearly 30 years, he teaches courses in piano performance and piano literature.
As a lecturer, he presents weekly seminars on piano music to piano teachers and students who follow along with the score while he performs and examines works from both performance and pedagogical perspectives.
As a performer, he presents lecture-concerts as soloist or with instrumentalists and singers. Dr. Vaughan is also the co-star of Just Play It, a theater production that combines music of various styles with comedy, theater and storytelling. To date, it has received more than 150 performances in over 40 different cities.
Keynote: The benefits and challenges of collaborative and inclusive theatre-making
Ad Infinitum’s Co-Artistic Director, George Mann, and actor, director and writer Matthew Gurney, who both collaborated on the production of Extraordinary Wall of Silence, present a discussion about their experience of working together in a rehearsal room bringing together deaf and hearing creatives, activists and academics. Looking back on this challenging but ultimately rewarding project created across 7 years, they will explore the challenges, what they learnt, and the benefits of co-creating theatre.
Speaker: George Mann (United Kingdom) – Co-Artistic Director, Ad Infinitum
A practitioner, actor, writer, and director, George Mann trained at the L’École Internationale de Théâtre Jacques Lecoq in Paris from 2004 to 2006 after graduating from Royal Holloway, University of London.
Mann founded Ad Infinitum in 2007, writing, directing and performing in the company’s debut piece, Behind the Mirror. Co-written with director Nir Paldi, he continues to perform in the sell-out hit Odyssey, which has toured the world since 2009. Mann’s one-man performance of Homer’s classic tale earned him The Stage’s Best Solo Performer Award in 2009.
In 2011, Mann wrote and directed Translunar Paradise, which has picked up nine awards to date and toured the world, including a three-month tour of Brazil. In 2014, he wrote, directed and performed live vocals in Light, which premiered and sold out at the Barbican Centre as part of the 2015 London International Mime Festival. The piece returned to London a further three times to run at Battersea Arts Centre from 2015 to 2017.
Mann won the National Theatre and Bristol Old Vic’s Quercus Trust Award in December 2014 and served as associate director of the theatre company from 2015 to 2017. His critically acclaimed main stage directorial work at Bristol Old Vic includes a new version of Medea written by Chinonyerem Odimba, and Pink Mist written by Owen Sheers, which transferred to the Bush Theatre in London.
Speaker: Matthew Gurney (United Kingdom), Devising Company and Cast, Ad Infinitum
Matthew Gurney is a highly skilled physical performer, writer, and director working in film, TV and theatre. During his career, he has partnered with Deafinitely Theatre, the Globe, the BBC, and Channel Four.
Gurney has worked on many Ad Infinitum projects, including Light, Extraordinary Wall of Silence, No Kids, and Bucket List. In 2020, he was commissioned by the company to create the short film Dr Voxoff’s Sign Language School for Hearing Children, watched by thousands online.
Gurney is profoundly deaf and from a profoundly deaf family that uses British Sign Language as their first language.
Grace Cheng believes that art has the power to ignite life’s infinite possibilities and has endeavoured to bring art appreciation into different communities, including people with disabilities. She has curated several arts projects, including the Charming Experience exhibition in 2009 for the Hong Kong Museum of Art and public art projects such as Budding Winter in 2010 and ArtAlive@Park in 2011. These programmes have enabled audiences to enjoy art through different senses while also nurturing young artists. In 2009, Cheng was commended by the Home Affairs Bureau for her contributions to the promotion of art and culture.
Devoting himself to teaching for more than 20 years, Ma Hon Ming is currently the music teacher and head of the student support and school ethos team at SAHK Jockey Club Elaine Field School. As a visual arts graduate, he has also taught visual arts and Chinese, and has previously played the trumpet in a ceremonial band. Ma manages the school’s brass band and actively encourages students to participate in the Hong Kong Schools Music Festival and other performances.
Mimi Lo is one of the very few Asian artists well-versed in somatics, DanceAbility, ContaKids, contact improvisation, and more. In recent years, she has actively promoted the inclusive participation of contact improvisation.
A graduate from the School of Dance, Department of Contemporary Dance at the Hong Kong Academy for Performing Arts with majors in choreography and dance directing, Lo now teaches contact improvisation there. She studied somatics with Aaron Wan. She is the founder and artistic director of the Mimi Lo Performing Arts Development Foundation.
All the remarks by the speakers and the audience are merely personal opinions, and do not reflect the views or opinions of The Hong Kong Jockey Club Charities Trust.
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