Emerging musicians from Hong Kong are reviving the "vanished melodies" of ancient China via innovative creations and have debuted these works in the West for the first time with trailblazing performances in London and Paris.
The recent tour conducted by the Hong Kong Gaudeamus Dunhuang Ensemble forms part of broader initiatives by the city aimed at building cultural connections abroad.
Since 2018, the ensemble has staged over 60 performances across Hong Kong and Mainland China, along with one concert in Tokyo.
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The event took place during the international Museum Summit on March 27, marking the conclusion of a series of prominent cultural happenings in Hong Kong throughout the month.
However, the "Go West" tour was significant, enabling European audiences to encounter this type of music for the very first time.
Leonie Ki Man-fung, the founder and honorary director of the ensemble, mentioned that the musicians have brought her vision to life. She aimed to resurrect the musical traditions depicted in the murals and preserved in the ancient manuscripts found within the Dunhuang caves in northwestern Mainland China’s Gansu province, which dates back as early as the 4th century.
"Music embodies emotions. Although the murals are lifeless, listening to the music resonates within your heart," she stated.
The current objective is to present this to the global audience, highlighting Hong Kong, raising consciousness about the cultural riches of Dunhuang, and motivating young individuals to connect with Chinese heritage.
"Culture and civilization ought to know no bounds; they shouldn’t be confined by borders," Ki stated.
At a reception for the inaugural concert held at the British Library in London, she informed attendees that having the chance to play in front of an audience from Europe was incredibly valuable.
The performance, jointly presented by the ensemble along with Hong Kong’s ETO office in London during the latter part of February, showcased ten distinctive compositions crafted by resident composers Kam Shing-hei and Chu Kai-yeung.
Historic Dunhuang was a bustling desert haven along the Silk Road trade route, characterized by its rich cultural diversity. It has been compared to modern-day Hong Kong, which also embraces multiple cultures and aims to serve as China’s “superconnector.”
Ki stated, "The objective is to preserve and safeguard our cultural heritage while also fostering its development. It’s crucial that we adapt to contemporary trends and align with the mindset of youth. Our aim is for the younger generation to embrace Chinese culture."
Composers Kam and Chu mentioned that their work has assisted them in finding answers regarding their own identities as well as those of Hong Kong residents.
Chu stated: "I had an identity crisis. I wasn’t certain about why I was composing music. I was searching for my distinct voice and aesthetic."
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Kam stated that the question of identity was crucial to the composers' creative expression, noting that Dunhuang had assisted him in grasping the significance of being an artist in Hong Kong.
"Through our music, we try to pursue the authenticity of culture or of music itself," he said.
Dunhuang owed much of its cultural fabric to Buddhism, he further noted, and this philosophical aspect served as the "primary attraction" for young people from Hong Kong.
The musical pieces were showcased alongside over 50 artifacts from the cave exhibited at the British Library, with numerous items being presented publicly for the very first time.
Luisa Elena Mengoni, who leads the British Library's Asian and African collections, stated that the group perfectly aligned with the cultural events associated with the exhibition.
"The display of traditional instruments and their variety was highly beneficial for the UK audience. This presented numerous opportunities across various aspects," she commented.
Mengoni also mentioned that Hong Kong's cultural landscape was "incredibly dynamic."
We remain deeply dedicated to maintaining our engagement with institutions in Hong Kong and leveraging the insights gained from previous years, expanding upon the relationships we have already formed. " she said.
The event was graced by the presence of Wang Qi, who serves as a minister at China's embassy in the UK, along with Gilford Law, the former director general of the local ETO. Also in attendance were scholars, representatives from museums, participants in international Dunhuang initiatives, and members of the broader community.
Law emphasized the importance of these events considering the numerous historical and cultural connections between Hong Kong and the UK. He further stated, “This performance highlights the ability of music to honor global camaraderie.”
The importance of Hong Kong’s contribution to "strengthening global cooperation and interactions" was emphasized in Chinese Premier Li Qiang's address during the crucial "two sessions" political gatherings in Beijing last month.
Law mentioned that the ETO executed 26 cultural initiatives last year, covering areas such as fashion, film, music, and theater, with the aim of enhancing comprehension about Hong Kong and its cultural landscape.
The group, which included pupils from the Hong Kong Academy of Performing Arts, participated in discussion sessions at the School of Oriental and African Studies and University College London prior to concluding their visit with an hour-long performance at the Chinese Cultural Centre in Paris.
Ki mentioned that the tour enabled the group to explore new opportunities and establish fresh relationships, and they were extended invitations to come back to Europe.
She mentioned that the ensemble will keep working towards acting as a "cultural emissary" by reviving the forgotten melodies of Dunhuang.
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