>Magdelina Tang
>Kessay Chan
>Kotaro Ishibashi
>Toi Warbrick
>New Workers Band
>The Wildest
Documentary on Acappella and Tin Shui Wai – “Wai Sing”
Kessay CHAN
Tin Shui Wai was considered as distant and a pathetic community. Through interviewing and documenting the lives of four young Acappella music lovers from Tin Shui Wai, Wai Sing discusses how adolescents can learn and grow through this unique musical world and thus introduces this “human-voices-only” music to more locals. The documentary was then screened in differently communities, exchanging values and different lifestyles.
Reimagine Classical Music in Community: Recontextualization through embodied historical experience
Magdelina Tang
Is classical music in a non-western place meant to be disconnected and non-
community friendly? Socially-conscious classical music programmes in Hong
Kong focus on training for young and elderly musicians, represented by the Music Lab, Haw Per Music Foundation and Music Children Foundation. An early attempt of such is a programme by Hong Kong Sinfonietta in collaboration with McDull, a local cartoon character, as a classical music ambassador with family-friendly concert series.
Despite the vibrant music programmes focus on professional training and
classical music promotion, the wall between the community and classical music scene is still solid. In response to these preconceived notions of classical music, I curate a program that highlight the aesthetic significance of classical music, with the support of storytelling to connect audiences and performers together with a narration of the performance history of classical music in Hong Kong.
In this presentation, I reveal my attempts in presenting classical music performance with a site-specific historically-informed context. I aim to debunk, or decolonize, the notion of classical music as a distant and foreign culture; I also explore the possible roles of professional classical performances in the field of community music-making.
How is Online Participatory Music Possible? -The Challenge of “International Online Festival of Pun-filled Music”-
Kotaro Ishibashi
This presentation aims to discuss the possibilities and limitations of online participatory music practice through a report on the preparation prosses and contents of “International Online Festival of Pun-filled Music” to be held from October. This program is a part of “Senju Pun-filled Music Festival,” which is a participatory music project from 2011 mainly led by the Japanese composer Makoto Nomura and “Pun- filled Music Community Band” who gathered through open calls. On May 31, 2020, a participatory concert “1010 people in Senju” was scheduled to be held, in which 1010 performers gather and play music together making use of various places in the whole Senju area (the northern part of Tokyo). However, due to the influence of the COVID-19, the concert had to be postponed, and the contents of the concert had to be reconsidered to focus on online. As a result of musical experiments via zoom, we developed some programs that enable music creation that would make use of the characteristics of online tools. In online music creation, some kinds of sounds are drowned out by other sounds, but with a full understanding of the features of online tools, it is possible to set up the program so that each sound of participants is heard equally. Also, because people from all over the world can participate from their homes, it is possible to develop programs in multiple languages and using things that are only available at home (pianos, vacuum cleaners, curtains, etc.). On the other hand, it could exclude people who are unfamiliar with online tools or who cannot play instruments at home. We are now considering the way they can participate in this program. In order to hold a participatory and inclusive music program online, it is necessary to make the most of the characteristics of online tools, while dealing with individual problems carefully.
新工人樂團成立於2002年5月1日。 與大地和人民一同歌唱的民謠樂團，民眾文藝的推動者，勞動美學的踐行者。以勞動者的 立場反觀自身、反思現實。音樂風格多元，內斂與自信並蓄，質樸與鏗鏘同在。