Opening Address at the 'Hong Kong Xiqu Forum'
Dr. Patrick Ho, Chairman of Hong Kong Arts Development Council
Date: October 08, 2001
Venue: Lim Por Yen Film Theatre, Hong Kong Arts Centre

Ms Chan Kim-seng, Mr Yu Kwok-lit, Mr Yuen Siu-fai, ladies and gentlemen,

It is my pleasure to be present at the opening ceremony of the 'Hong Kong Xiqu Forum'. Commissioned by the Xiqu Committee of Hong Kong Arts Development Council, the forum is organised by the 'Hong Kong Cantonese Opera Development Limited' with 'Hong Kong Arts Centre' and 'Cantonese Opera Magazine' as co-organisers.

It is the aim of the 'Hong Kong Xiqu Forum' that by inviting local Xiqu arts practitioners, government representatives, professionals, academics and Xiqu lovers to participate in the event, extensive discussion and exchange of ideas on questions regarding the ecology, heritage and education of Xiqu are launched. The ideas will then be compiled into a report which will serve as a blueprint for the future development of Xiqu in Hong Kong that is both constructive and visionary, and to promote Hong Kong arts development as a whole.

Apart from its origin of Cantonese opera from Lingnan tradition, Xiqu in Hong Kong is also comprised stylised performing techniques and types that are of different dialects. These include Kun Qu, renowned as the 'mother of Chinese Xiqu' and living fossil of the technique; Jing Opera known as the 'national opera', Yue Opera originated from the Zhejiang and Zhaoqing areas, and Chao Opera often played in the form of Shen Gong Xi that is closely linked to local customs and people's daily life.

Embedded in a long history, the symbolic performance, simulated theatrical scenes, refined story lines and the popular nature of Chinese Xiqu has made it representative of Chinese arts and even cast influence on the mode of performance in western opera. In 1935, the German script writer Bertold Brecht watched the performances of Mei Lanfang in Moscow. Inspired by the symbolic expression and simulated theatrical scenes of the Jing Opera, he created the 'Epic Theatre' which transformed the modern theatre of the west through its unique approach and theatrical aesthetics.

The Arts Development Council hopes the Forum can enhance the public's understanding of Xiqu, so as to promote their concern for the exploration of its potentials and future development.

Building on the elements of singing, acting, recitation and acrobatics, Chinese Xiqu is a synthesised art that incorporates the characteristics of different art forms. Exquisite costumes and stage scenery are parts of visual arts, Xiqu scripts and texts are both literary arts and drama, while changqiang (music for voices) are music, and stylised movements and structures are the arts of dancing and physical body.

Contemporary Xiqu in Hong Kong is a synergy of both East and West as well as local culture. It is invaluable that Xiqu is not only a refined performing arts, but also shows concern for the society and provides entertainment for the public. We can see it as a 'Chinese performing arts unique to the Hong Kong context'.

Take last year's number of performances as an example. There was at least one performance daily by local Xiqu troupes, and a total of 135 days in which sheng gong xi was staged in various districts of Hong Kong. Among them, 203 performances were staged in Sunbeam Cinema throughout the whole year and were self-financed, 77 performances were subvented by the ADC. Moreover, there were 182 indoor Xiqu performances organised under the 'Leisure and Cultural Services Department' with an audience of 110,775 and attendance rate of 74.5%.

With the growing number of performances and high attendance rate, Xiqu is proven to be a widely popular and profound Chinese performing arts.

I wish the 'Hong Kong Xiqu Forum' every success and look forward to seeing the prosperous development of Xiqu in Hong Kong. Thank you.