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港樂必須支持本地音樂人才 HK PHIL NEEDS TO SUPPORT LOCAL TALENTS

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港樂必須支持本地音樂人才
HK PHIL NEEDS TO SUPPORT LOCAL TALENTS
(ENGLISH VERSION BELOW)

六月八日更新:下見港樂對聯署作出的回覆,及聯署發起人的回應。
Update on June 8: HK Phil's response to our online campaign, and the primary signatories' subsequent response is copied below.

香港管弦樂團對本地人才的系統性排斥

我們是一群香港音樂家、指揮家、作曲家、教育工作者、表演藝術家。我們極為關注香港管弦樂團 [港樂] 在節目籌劃以至樂團的長遠發展理念上,把本地人才幾乎全然排斥在外,樂團對發展本地音樂生態的承擔亦不斷退減。對此我們認為已造成珍貴公共資源錯配,作為香港「九大」表演藝術團體中獲得政府最大資助的藝團,誰受聘於港樂?樂團為誰服務?港樂又對這個城市回饋了多少?

在港樂最新公佈的 2015-2016 樂季,當中只有:

- 0 首香港作曲家作品(來自大中華地區的作品亦寥寥可數)
- 0 位香港獨奏家
- 1 位香港指揮家

港樂於人才聘任上,長期重國際而輕本地。由藝術家及管理階層之聘任、以至節目籌劃及獨奏家的揀選,港樂將「國際人才先行」的政策貫徹於樂團運作的各環節上。引述港樂董事局副主席劉元生先生所言:「香港管弦樂團的使命,是打造具國際水平的管弦樂團,而不是提拔本地作曲家或藝術家。」[1] 港樂用以維護其「國際人才政策」的邏輯包括:(一)、維持財政穩定(「在財政上持續成長」);(二)、維持優秀藝術水平(「留住人才」);(三)、力求國際化(「致力追求國際上的重要地位」)。[2] 追求優秀水平,無可厚非。但我們對港樂在資源分配上是否已取得平衡,以及公帑是否用得其所,提出嚴重的質疑。作為民政事務局轄下資助金額最高的藝術團體,港樂有否把當局文化政策中的「廣泛參與」、「多元發展」、「推廣傳統」、「藝術創新」均涵蓋於其使命之中?[3]

香港並不乏世界級音樂人才。在培育本地人才與追求藝術卓越之間,並不存在矛盾。環觀世界各地不少享負盛名的管弦樂團,均投放大量資源於委約當地作曲家、聘用及培育當地人才、以及為當地新晉藝術家提供機會。倫敦交響樂團透過倫敦交響樂團學院帕努夫尼克作曲家計劃,表明了對支持英國本土新晉藝術家的承擔;並透過 Khadambi's House 藝術家駐留計劃和 LSO Futures 計劃,對中生代作曲家提供支援;樂團亦經常與英國作曲家及獨奏家合作演出。[4] 紐約愛樂樂團把委約當地作曲家,以及對培育紐約音樂家的承擔,看成樂團擁有輝煌歷史及享譽國際不可或缺的一部份。[5]

關注本地音樂發展及培育本地藝術家理當是港樂的要務。因此我們聯署促請當局: 

一、全面審查港樂的管理架構,遏止樂團系統性排斥本地聲音,並對本地藝術家作出明確及可核實的承諾,確保日後樂團與本地藝術家的恆常合作,不是出於董事局、藝術委員或行政部門的慷慨或善意。

二、全面審查港樂的營運政策是否配合民政事務局現行的文化政策方針。

三、民政事務局在執行資助審查機制時,加以獎勵以本地文化生態為發展重心的資助,以及重整資源分配,把公帑重點投放在發展本地文化及人才培育中。

林樂培教授 (作曲家,香港作曲家聯會名譽會長)
劉靖之教授 (香港大學亞洲研究中心名譽教授)
曾葉發教授 (國際現代音樂協會前任主席)
陳永華太平紳士 (香港作曲家及作詞家協會 (CASH) 主席,香港大學專業進修學院創意及表演藝術中心總監)
榮念曾先生 (進念二十面體的聯合藝術總監)
楊嘉輝博士 (作曲家,藝術家,香港城市大學創意媒體學院助理教授)
凌藝廉 (香港創樂團藝術總監)
盧厚敏博士 (香港作曲家聯會主席)
麥淑賢教授 (香港中文大學音樂系教授)
白諾信博士 (香港大學音樂系副教授) 
謝俊興先生 (香港藝穗會創辦人及總監)
林淑儀女士  (藝術行政人員,製作人,策展人)
鄺珮詩女士  (藝術行政人員,獨立電影製作人)
盧思泓先生 (笙演奏家,教育家)
龔志成先生 (作曲家,獨立音樂家及製作人)
鄧慧中博士 (作曲家,音樂教育家)
梁基爵先生 (作曲家,多媒體音樂家,藝術家)
林家琦女士  (藝術行政人員)
約翰.百德先生 (國際藝評人協會主席)
潘少輝先生 (獨立編舞家)
梅卓燕女士  (城市當代舞蹈團客席編舞)
楊春江先生 (獨立舞蹈家,編舞家)
鮑藹倫女士  (錄影太奇創辦人、香港藝術發展局委員)
李筱怡女士 (香港藝術發展局顧問(藝術行政組)、藝術行政人員、製作人)
陳仰平先生(作曲家)
周凡夫先生(藝評人)
樊婉貞女士 (執行董事, Art Map Limited)
郭英女士 (策展人、藝術家)
有耳非文 (表演藝術總監,天比高創作夥伴)
文晶瑩博士 (藝術家,香港城市大學創意媒體學院助理教授)
伍卓賢先生 (作曲家,蘋果樹音樂總監)
麥海珊博士 (活動影像及聲音藝術家,香港浸會大學視覺藝術院助理教授)
伍宇烈先生 (獨立編舞家)
方敏兒女士 (策展人)
葉樹堅先生 (作曲家)
馮炳輝先生 (香港公開大學電影設計及攝影數碼藝術副課程主任)
Jay Forster 先生 (Clockenflap 音樂及藝術節創辦人及藝術總監)
Justin Sweeting 先生 (Clockenflap 音樂及藝術節音樂總監)

(排名不分先後)
二零一五年六月四日

(ENGLISH VERSION)

4 June 2015

RE: The systematic exclusion of Hong Kong talents from HK Phil’s organisational vision

We are the musicians, conductors, composers, music educators, performing artists and members of the artistic community of Hong Kong. We write as a community to express great concern over the Hong Kong Philharmonic Orchestra [HK Phil]’s diminishing commitment to local contexts in its artistic programming, and the near-total exclusion of Hong Kong’s talent from its long-term organisational vision. This, in our view, constitutes a misallocation of precious public resources. The HK Phil receives the largest subsidy given to any of the “big nine” performing arts companies in Hong Kong. Who does the orchestra employ, who are its stakeholders, and how much does it reinvest back into our city?

The HK Phil’s 2015-2016 season features:

- 0 performances of local composers’ works [and poor representation of composers from Greater China]
- 0 local soloists
- 1 local conductor

It’s long been known that the HK Phil overwhelmingly and unapologetically prioritises international talents over the city’s own in all aspects of its operation, from the recruitment of artistic and managerial staff, to programming and soloist engagement. In the words of the orchestra’s Vice-Chairman Y.S. Liu: “...the mandate for HK Phil is to be an orchestra of world-class standard and not grooming Hong Kong composers or artists.” [1] In the orchestra’s defense, the most often cited rationales are financial self-preservation (“to achieve long-term sustainable growth”), artistic excellence (“to retain the best people”) and international recognition (“to secure premier international standing”) . [2] Yet, the issue here is one of balance, and appropriateness of public resource deployment. As the city’s most well-funded performing art troupe under HAB’s portfolio, in what way does the HK Phil also support the myriads of cultural policy objectives of the Bureau [3] , which include “wide participation,” “diversified development,” “promotion of traditions,” and “artistic innovation”? 

We have world-class talents in Hong Kong. Nurturing local talents and aspiring to be world-class are not mutually contradictory goals. Even the most prestigious orchestras strive to program significant new commissions, recruit and nurture local talents, and provide significant opportunities for emerging artists in their home cities. Examples abound: the London Symphony Orchestra (LSO) affirms its commitment to UK-based emerging artists through its LSO Academy and Panufnik Composers Scheme. It supports mid-career composers through its Khadambi’s House residency, and LSO Futures initiatives. British composers and soloists are part of the orchestra’s regular roster. [4] The New York Philharmonic’s new commissions and its commitment to the musicians of New York City are integral to the ensemble’s distinguished history and international standing. [5]

Featuring local content and artists must be part of the mandate of the HK Phil’s existence. We demand:

- A full review of HK Phil’s governance structure to safeguard against the systemic exclusion of local voices, and to include an explicit and verifiable commitment to local artists, for whom regular collaborations with the orchestra must not be acts of generosity that depended on the goodwill of the board, the artistic committee or the administration.

- A full review of HK Phil’s mandate to align with the HAB’s cultural policy objectives.

- The implementation of HAB funding review mechanisms that reward and reprioritise investment into the city’s own cultural sector.

Yours Sincerely,

Prof. Doming Lam (Composer / Honorary President, Hong Kong Composers’ Guild)
Prof. C.C. Liu (Honorary Professor and Honorary Research Fellow at The Centre of Asian Studies, University of Hong Kong)
Prof. Richard Tsang (Former President of International Society of Contemporary Music)
Prof. Chan Wing Wah, JP [Composer / Head of Centre for Creative and Performing Arts, HKU Space / President of the Composers and Authors Society of Hong Kong (CASH)]
Danny Yung (Co-artistic Director, Zuni Icosahedron)
Dr. Samson Young (Composer / Assistant Professor, School of Creative Media, City University of Hong Kong)
William Lane (Artistic Director, Hong Kong New Music Ensemble / Musician)
Dr. Lo Hau Man (Composer / Chairman, Hong Kong Composers’ Guild)
Prof. Mak Suyin (Professor of Music, The Chinese University of Hong Kong)
Dr. Giorgio Biancorosso (Associate Professor of Music, University of Hong Kong)
Benny Chia (Founder & Director, The Fringe Club) 
Connie Lam (Arts Administrator / Producer / Curator)
Teresa Kwong (Arts Administrator / Independent Film Producer)
Loo Sze Wang (Sheng Soloist / Music Educator)
Dr. Joyce Tang (Composer / Music Educator)
Gaybird Leung (Composer / Multimedia Artist)
Kung Chi Shing (Composer / Independent Musician & Producer)
Kathy Lam (Arts Administrator)
John Batten (President, International Association of Art Critics-Hong Kong)
Pun Siu-fai (Independent Choreographer)
Mui Cheuk Yin (Associate Choreographer, City Contemporary Dance Company)
Daniel Yeung (Independent Choreographer)
Ellen Pau (Co-founder, Videotage / Elected Council Member, HKADC)
Bobo Lee Siu Yee (Advisor, Hong Kong Arts Development Council (Arts Administration), Arts Administrator / Producer)
Chen Yeung-ping (Composer)
Chow Fan Fu, MH(Critic / Consultant / Vice Chairman, International Association of Theatre Critics)
Anthea Fan (Director, Art Map Limited)
Kwok Ying (Curator, Artist)
Arumimihifumi (Director of Performing Arts, Skyhigh Creative Partners)
Dr. Phoebe Man (Artist / Assistant Professor, School of Creative Media, City University of Hong Kong)
Ng Cheuk Yin (Composer / Director, Apple Tree Music)
Dr. Anson Mak (Moving image and sound artist, Assistant Professor, Academy of Visual Arts, Hong Kong Baptist University)
Yuri Ng (Independent Choreographer)
Janet Fong (Independent Curator)
Stephen Yip (Composer)
Makin Fung Bing Fai
(Co-programme leader in cinematic design and photographic digital art, OUHK)
Jay Forster (Founder & Artistic Director, Clockenflap Music & Arts Festival)
Justin Sweeting (Music Director, Clockenflap Music & Arts Festival)

(Listed in no particular order)

[1] 〈Questions raised over Hong Kong Philharmonic’s lack of local stars〉,訪問原文摘錄於 2015年 6月1日 上午 8 時 30分,及後原文曾被修改:http://www.scmp.com/news/hong-kong/article/1814316/questions-raised-over-hong-kong-philharmonics-lack-local-stars; 
Original quotation accessed 8.30 am 1 June 2015. The article and the quoted statement has subsequently been altered. http://www.scmp.com/news/hong-kong/article/1814316/questions-raised-over-hong-kong-philharmonics-lack-local-stars

[2] 括號內用詞摘錄自香港管弦樂團2013/14年報,摘錄於2015年6月1日:http://download.hkphil.org/files/annual_report/HK_Phil_annual_report_1314.pdf Quotations are excerpted from the Hong Kong Philharmonic Orchestra’s Annual Report, 2013-2014, accessed June 1, 2015: http://download.hkphil.org/files/annual_report/HK_Phil_annual_report_134.pdf

[3] 香港特別行政區民政事務局文化政策,摘錄於2015年6月1日:www.hab.gov.hk/en/policy_responsibilities/arts_culture_recreation_and_sport/arts.htm
Accessed 1 June 2015: www.hab.gov.hk/en/policy_responsibilities/arts_culture_recreation_and_sport/arts.htm

[4] 倫敦交響樂團學院帕努夫尼克作曲家計劃,摘錄於2015年6月2日:
http://panufnik.com/lso-panufnik-young-composers-project; 
Accessed 2 June 2015: http://panufnik.com/lso-panufnik-young-composers-project/ 

[5] 紐約愛樂樂團2013-2014年報,摘錄於2015年6月3日:
http://nyphil.org/~/media/pdfs/publications/NYP1314%20Annual%20Report-LR%20for%20web.pdf?la=en; 
NY Phil Annual Report 2013-2014, accessed June 3 2015:
http://nyphil.org/~/media/pdfs/publications/NYP1314%20Annual%20Report-LR%20for%20web.pdf?la=en 

====================================================

港樂對聯署於六月五日所作出的回複。只提供英文版本。
Hong Kong Philharmonic's response, dated June 5, 2015; English version only.

[HK Phil & Hong Kong Talents]

To the Petitioners:

We at the HK Phil welcome feedback from the arts community, whether supportive or not. It is from such feedback that we can better assess how to plan in the future. So rest assured, we are listening to you.

Although perhaps innocent in intention, only someone who did NOT have the relevant information could have drawn up a headline to a petition that accused the HK Phil of “systematically” excluding Hong Kong talents. The facts are as follows:

On the assumption that “talents” means Hong Kong composers, conductors, presenters and soloists performing on our main stage, in the 2012/13 season, there were 7; in 2013/14 there were 11; in 2014/15 there were 21. By no stretch of the imagination can this be deemed a “systematic” exclusion of Hong Kong talents; it is, in fact, an annual increase.

In three weeks, we are giving concerts with Johnson Li conducted by Lio Kuokman; four weeks ago we devoted an entire week of the orchestra’s time to the work of four young Hong Kong composers. Three months ago, we toured Europe and performed a piece written for us by Fung Lam in London, Berlin, Birmingham and Eindhoven, from where it was broadcast in Europe and subsequently on RTHK for the benefit of Hong Kong people. Last December, we gave the world premiere of a piece by Richard Tsang, also broadcast on RTHK.

The annual Subscription Brochure does not include all activities of the orchestra each year, and after it has been printed, other projects are invariably added. The number of Hong Kong talents may end up being lower in the 2015/16 season, but that is not a conscious decision – it is simply the way the season has evolved - and most certainly is not a “systematic” exclusion of Hong Kong talents.  

Rest assured that we are retaining our commitment to Hong Kong talent as well as to talent from other parts of the world.

Thank you.

Michael MacLeod
Chief Executive
Hong Kong Philharmonic Orchestra

====================================================

聯署發起人於六月八日的的回應
The primary signatories subsequent response, dated June 8
(English version below)

[就港樂回覆聯署內容的幾點回應]

我們感謝港樂於其 Facebook 專頁上, 以及港樂行政總裁麥高德先生於 2015 年 6 月 5 日的信件中, 就網上聯署運動的回覆。我們有以下幾點回應:

(1)  我們促請港樂就董事局副主席劉元生先生早前在報章所發表的言論 (南華早報, 摘錄於 2015年6月1日 上午8時30分) 作出直接的回應。 劉先生的言論,暗示港樂追求「世界級水平」及「國際視野」之使命, 與「提拔本地人才」互相排斥。對此我們絕不認同。

(2)  我們相信「優秀水平」的追求與量度,必須從多方面開展。我們欣賞港樂成員的努力及貢獻, 他們不論種族國籍, 都為樂團盡力。我們亦對梵志登成功提高港樂的藝術水平予以讚揚。但與此同時, 我們深信樂團對卓越的追求, 絕不能局限於傳統曲目的演繹。港樂必須肩負演繹傳統曲目以外, 更闊更廣的社會使命。我們要求港樂投放更多資源在香港音樂家的發展上, 以求與本地文化圈, 在比現時更大的程度上, 達至緊密的連繫。

(3)  我們注意到港樂各項培育本地人才及新晉藝術家的計劃。然而, 這些計劃似乎未能在樂團發展上長期紮根 (如「駐團學員培訓」計劃), 或被安排在 subscription season 以外的其它節目之中; 某些則依賴一次性資助 (如「何鴻毅家族基金駐團作曲家」計劃) 的支持, 長期承諾成疑。港樂始終未見有系統地及可持續地支持本地音樂人才的工作。因此 ,我們關注樂團企業管治中最核心的管治架構問題。我們促請港樂 (a) 向公眾公開港樂資源運用的優先次序決策中,背後的企業管治邏輯; (b) 採取更積極的行動, 以確保來自樂團周邊各本地藝術群體中的聲音, 能夠比現時更大的程度上融合到樂團的企業管治之中。

[RE: Further responses]

We thank the Hong Kong Philharmonic for addressing our online petition campaign over their Facebook page, and also through a personal message from its C.E.O, Mr. Michael MacLeod dated June 5th, 2015. In response, we have a few further comments to make.

(1) We would like the Hong Kong Philharmonic to address directly the comments Vice-Chairman Y.S. Liu made to local media (SCMP, accessed 8.30am 1 June 2015), which implied that the orchestra's aspirations towards achieving "a world class standard" and "a global vision" are mutually exclusive from the promotion of Hong Kong talent. We do not believe this should be the case.

(2) The pursuit and measurement of “excellence” should take place on multiple levels. We appreciate the commitments that members of the Hong Kong Philharmonic, regardless of their country of origin, have made to the orchestra, and commend Maestro van Zweden's success in raising orchestral standards. At the same time, we believe the measurement of excellence must reflect a wider set of aspirations than simply the interpretation of standard repertoire. We ask the Hong Kong Philharmonic to ally itself more closely to the city's cultural life by investing into the development of Hong Kong musical talents, to a larger extent than what is currently apparent.

(3) We appreciate and acknowledge the various initiatives that the Hong Kong Philharmonic has undertaken to engage local and emerging talents. Unfortunately many of these initiatives have failed to take root (e.g. the orchestral fellowship program), while others remained outside of the regular subscription season, or depended only on contingent funding (e.g. the Robert H.N. Ho Family Foundation composer-in-residence program). Our concern here rests fundamentally and unequivocally with a structural problem at the Hong Kong Philharmonic in which the systematic and sustained support and promotion of Hong Kong musicians and composers seems absent from the orchestra's mission.  We would like to see (a) greater transparency as to the internal organizational priorities in the orchestra's governance and resources deployment, and (b) proactive action taken to ensure that the myriads of voices of the artistic community that surround our city’s flagship orchestra are integrated into its artistic planning to a larger extent than what is currently apparent.



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