[vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] Passing on Chinese Dance to Future Generations Lorita Leung From her early life in Shanghai and North Korea in the 1950s, through her years in Hong Kong in the 1960s, to her time in Canada where she emigrated to in...
[vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] Distinguishing between the Missions of “Dance Practitioner” and “Dance Artist” Stephen Kwok Sai-ngai Born in 1928, Stephen Kwok was one of the first Chinese males to receive ballet training in Hong Kong, and he is currently a member of the...
[vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] The Cultural Significance of Dance Julie Ng Julie Ng is the youngest interviewee for the “Research Project—Oral History of Hong Kong Dance Development”. However, as she started her professional career at a young age, the period of her activities in...
[vc_row css_animation="" row_type="row" use_row_as_full_screen_section="no" type="full_width" angled_section="no" text_align="left" background_image_as_pattern="without_pattern"][vc_column][vc_column_text] Dance on the Screen, Movement beyond the Lens Ng Sai-fun A lively character in his 80s, Ng Sai-fun wielded a pair of wooden sticks used in yingge dance. While he said he is good at demonstrating dance, he is even...