Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region
項目合作 In Collaboration with and Supported by
賽馬會中華文化藝術科技劇場計劃由香港賽馬會慈善信託基金捐助 Jockey Club Learning Chinese Culture through Arts Tech Theatre Programme is Funded by The Hong Kong Jockey Club Charities Trust
進念藝術科技實驗室由恒基兆業地產捐助
Zuni Arts Tech Lab is supported by Henderson Land
粵港澳大灣區文化藝術節
GUANGDONG-HONG KONG-MACAO GREATER BAY AREA CULTURE AND ARTS FESTIVAL
學術伙伴 Academic Partners
藝術科技伙伴 Arts Tech Partners
Higher Diploma in Audio-Visual Entertainment Technology (AVET), Department of Information Technology, IVE (Lee Wai Lee) 正常状态
Enhance the diversified development of Chinese culture
Cultivate a knowledge-based civil society and promote arts and culture with diversity
A pioneer of experimental performance, video, and installation art in the Sinophone region. Yung is the recipient of the Hong Kong Arts Development Awards 2022 Outstanding Contribution in Arts and 2015 Artist of the Year (Drama), the Fukuoka Prize – Arts and Culture (2014), the Cross of the Order of Merit of the Federal Republic of Germany (2009), and the UNESCO Music Theatre NOW Award (2008).
For the past 50 years, he has been actively engaged in theatre, comics, film and video, as well as visual and installation art. Yung has contributed significantly to the provision of a platform for both acclaimed and emerging artists to explore and carry out cross-disciplinary and cross-cultural collaboration. As director, scriptwriter, producer and stage designer, Yung has created over 100 theatrical productions, which have widely toured to over 40 cities in North America, Europe, and Asia. Onand off-stage, Yung is an enthusiastic protagonist for innovation in cultural policy, cultural exchange, institutional development and creative education.
Establish Hong Kong experimental theatre with international standing
推動香港成為國際文化交流中心
Hong Kong as an international cultural exchange centre
artistic talents to support Hong Kong’s creative industry 01 03 04
A pioneer in cross-boundary and multimedia theatre. He is recognised for his portfolio of more than 70 original theatre works, which have been invited to cities around the globe and major Chinese cities. Woo’s theatre works explore a wide range of subjects including literature, history, current political affairs, architecture, religion, and philosophy.
In 2009, Woo initiated and curated Architecture is Art Festival, the first of its kind themed on architecture in Hong Kong. Since 2017, Woo curated and designed the Z Innovation Lab that focused on integrating the latest stage technology and innovative ideas.
In 2025, Woo was honoured with the Chinese Theatre Award for Best Adapted Play for Left Unsaid. Over the years, Woo has received numerous international awards, including the ICVA Award from the International Council of Visual Arts, followed by the 8th Global Competition on Design for Future Education and the KTK Design Award (2024); the Taiwan Golden Pin Design Award (2023); A’ Design Award; the Red Dot Award (2020); the DFA Design for Asia Awards.
Foreword
董事會主席ﾠ劉千石 , JP
By Lau Chin-shek, JP, Chairperson of Board of Directors
Zuni Icosahedron’s 2024 theatre season, "XATQ," is an experimental coalescence of traditional Chinese theatre, Xiqu (Chinese traditional opera), and Arts Tech. It combines the gems of Chinese culture, xiqu, with Arts Tech of the new era. It was to showcase the beauty of theatre, and to practise and experiment with different approaches to storytelling, and to explore the future of xiqu aesthetics in Hong Kong theatres.
Savouring Chinese Culture Through Visuals and Soundscapes
The season opened with two productions of ZdX Theatre - Chinese Opera ABC, which skilfully employed arts tech installations, sound, visuals, and lighting effects, to introduce the four basic skills of Chinese opera - chang (singing), nian (recitation and dialogue), zuo (acting with body movements), da (martial arts). Audiences can immerse themselves in theatre space, enjoying xiqu while learning about Chinese culture.
Jin Yong Xiqu Theatre – The Smiling, Proud Wanderer was a tribute to Jin Yong, the legendary martial arts novelist to celebrate his birth centenary. Mathias Woo had engaged renowned local and Chinese Mainland artists, including national-class performers and playwrights in the making, to put together original repertoire fusing Jingju (Peking opera), Kunqu (Kun opera), and Naamyam (Cantonese narrative singing), blending it with arts tech to present the beauty of traditional performing arts. Guided Performance - The Smiling, Proud Wanderer Meets Xiqu allows the audience to relish xiqu, delve into the literary world of Jin Yong, and experience Chinese culture and Arts Tech in the theatre.
Danny Yung Experimental Xiqu – Startup of Wusheng explores how wusheng moves express anger, anxiety and doubt by experimenting with two wusheng repertoire excerpts, Drowning and The Outcast General. Striving to innovate xiqu passed down for generations and resonate with a contemporary and international audience, it explores ever-evolving traditions from various viewpoints and social structures.
A Platform for Cross-Generational and Cross-Cultural Dialogues
Danny Yung Experimental Theatre The Birth of Tragedy probes into the relationship between Nietzsche and Wagner, which was like a love affair between philosophy and art. What was born out of the death of faith? Yung continues with his ultra-minimalist theatre design of One Table Two Chairs, creating a platform for dialogues across consciousness, generations, cultures.
Danny Yung was also invited to speak at the 34th Conference of the International Association of Libraries, Museums, Archives, and Documentation Centres of the Performing Arts (SIBMAS); his work Invisible Cities was showcased at the exhibition ‘Reading the World: from Pages to Screens’ of the Hong Kong Book Fair 2024. Yung also attended The Chengdu-Chongqing International Theatre Festival and was appointed to the role of International Cooperation Consultant.
Journeying through Calligraphy Metaverse with the Monkey Kings
Calligraphy embodies the soul of Chinese culture. Learning about calligraphy is the only entrance to Chinese culture. Zuni ran Jockey Club Learning Chinese Culture through Arts Tech Theatre Programme 2024 — Calligraphy that combined creative musical theatre for children and live immersive installation using arts tech with the Chinese Culture: Learn & Play educational kit, for both adults and kids to experience the knowledge and aesthetics of Chinese calligraphy.
LEARN & PLAY Arts Tech Theatre The Monkey King: Havoc in Calligraphy Metaverse. Four Chinese calligraphythemed sound and image experiential Art-Tech spaces were set up in the Yuen Long Theatre. Audiences broke the confines of their seats and followed the four Monkey Kings as their disciples to explore the nook and cranny of the four calligraphy experiential spaces. They learned to observe with their eyes, listen with their ears, analyse with their heart, and interact with their hands, while learning the Chinese characters, experiencing different scripts, and understanding the four treasures of the study. The audience could savour the journey of calligraphy themselves.
Calligraphy was taught in several community workshops through, LEARN & PLAY, the interactive approach to enhance the public’s and the educators’ understanding of the art. We are glad to have Dr. Kan Tai-keung SBS. BBS. AGI, the world-renowned artist and designer as well as Dr Chui Pui-chee, the calligraphy master to take part and cohost.
The Chinese Culture Learn & Play Learning Kit uses comics to examine calligraphy across four aspects, including tools, Chinese character structure, etc. The Learning website features audio-visual demonstrations by Dr. Chui who offers tips on calligraphy practices. The website’s calligraphy mindfulness exercises encourage teachers and parents to experience it together with children.
The internship programme provides professional training for students interested in arts tech and stage production, offering in-depth learning in programming, arts promotion, multimedia production, and many more. Interns practise their skills in professional theatre settings, fostering creativity and leadership.
A Cantonese dark drama Left Unsaid made the season's highlight, adapted from the original play Beyond Words by Nick Yu Rong-Jun, director of Shanghai Dramatic Arts Centre. It stars Hong Kong Film Awards Best Actress Cecilia Yip and veteran actor Kenny Wong, marking their first collaboration. Mathias Woo broughts 5.5G networking technology into theatre for the first time, providing audiences with a seamless arts tech theatre experience. Mystery told in the style of Rashomon, it seeks the absurd in reality and looks for life amidst absurdity while pondering on the nature of life, the evanescence of fate, and human loneliness.
In the same year, the team also brought works to tour abroad, including A Tale of the Forbidden City in Nanjing, The Smiling, Proud Wanderer in Shenzhen, and Startup of Wusheng in Hanoi (also known as Meeting of Gods –Death of Generals), along with an exchange programme with the Nanyang Academy of Fine Arts in Singapore.
Zuni will continue to experiment with theatre works and diversify experimentation, carry on international exchanges, and promote Chinese culture by the power of theatre, empower youth in their mental and physical development, and work towards building an intellectual civil society and the diversity of arts and culture.
Season 2024-25 劇季
上海香港藝科戲劇實驗室 廣東話黑色話劇
Shanghai x Hong Kong
Experimental Arts Tech TheatreA Cantonese dark drama
Left Unsaid 唔講得
（不可說）
榮獲第九屆華語戲劇盛典最佳改編劇本 提名 2025 壹戲劇大賞年度最佳女星（葉童）、
年度最佳創新劇目獎的
Garnered The Chinese Theatre Award for Best Adapted Play
Nominated for Best Actress (Cecilia Yip) and Best Innovative Play at the 2025 One Drama Awards
戲處理得很有節奏，洗練又豐富。
演員很有創造力，配樂、多媒體恰 到好處。好看。
⸺榮廣潤教授 前上海戲劇學院院長
A great sense of rhythm throughout the play, which is laconic yet rich. The performers are very creative, and the music and multimedia elements are perfect. What a pleasure to watch.
To experience real-time synchronisation between your mobile screen and the live stage performance while enjoying a clear view of the actors’ superb acting and immersing yourself in a theatrical experience like never before — that has ushered in the future of stage plays.
—— Vakio Daily
2024.11.14-17
香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre
原著編劇：喻榮軍
美術顧問及造型設計：奚仲文 監製：陳善之 導演及改編：胡恩威
領銜主演：葉童、黃德斌、楊永德 音樂演出、演員：李俊樂 音樂總監：陳浩峰、于逸堯
舞台及多媒體設計：胡恩威
Original Playwright: Nick Yu Rong-jun
Art Direction & Styling: Yee Chung-man
Producer: Joseph Chan
Director, Adaptation: Mathias Woo
Lead Performers: Cecilia Yip, Kenny Wong, David Yeung
Music Performance, Performer: Gordon Lee
Music Directors: Cedric Chan, Yu Yat-yiu
Stage & Multimedia design: Mathias Woo
改編自上海話劇藝術中心藝術總監 喻榮軍原著舞台劇《不可說》
Adapted from the original play
Beyond Words by Nick Yu Rong-jun, Artistic Director of Shanghai Dramatic Arts Centre
上海香港藝科戲劇實驗室項目 Shanghai x Hong Kong Experimental Arts Tech Theatre
好細緻地欣賞到演員的表現，加倍戲劇的 效果。 好看！
⸺陳敢權
香港話劇團前任藝術總監，現任桂冠導演、戲劇藝術家 I can watch the actors' performances up close, doubling the dramatic effect. Fabulous!
Former
—— Anthony Chan
Artistic Director and current Director Laureate of the Hong Kong Repertory Theatre, Theatre Artist
First-class performers! The mystifying story with peaks and twists keeps you hooked. Applause should go to the director! Fascinating!
It explores a philosophical question about modern society. The moment the audience steps out of the theatre, they often find themselves preoccupied with contemplation. This kind of depth is often missing in today’s entertainment-focused theatre. And that is exactly what Yung’s been seeking.
—— Southern Metropolis Daily
對藝術體制的疑問、對生 活處境的提問，也滲透著 中西哲學的基要精神。
⸺林漢堅
資深策展人
環境藝術館 MOST 主理人
Questioning the institutions of art; questioning facets of life. The essence and spirit of Chinese and Western philosophy are seeping in through the process of questioning.
—— Andrew Lam Veteran curator Director of Museum of Site (MOST)
一個如此當下、貼近社會及 具啟發性的演出。舞台的美 學與演員表演圓融一致。
⸺鍾小梅
香港中文大學藝術行政主任及 邵逸夫堂經理
Such an awe-inspiring performance, apropos of society, was so full of life. The performers’ actions fuse perfectly with the aesthetics of the stage.
—— Ribble Chung Arts Administrator / Manager, Sir Run Run Shaw Hall, The Chinese University of Hong Kong
2024.7.19-20
香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre
The design exhibition Design Pulse Asia, organised by the Hong Kong Design Centre, features the poster series for Danny Yung Experimental Theatre The Birth of Tragedy 海報設計：李根在 Poster Design: Lee Ken-tsai
Theatre’s power to inspire, to empower the imaginary Creative Notes for The Birth of Tragedy
By Danny Yung, Co-Artistic Director
Discovering Ourselves Through Positivity
‘Tragedy’ doesn’t in the least describe us. We do not believe in tragedy. Simply for the fact that we are still roiling the theatres where give us shelters that allow us to continue to observe and think independently. Despite the pessimism we experienced from time to time when we left theatres, we always remain positive because only in positivity we seek ourselves – the self that critiques the multitudinous phenomena of the world, including the notion of tragedy, the root of everything, and the “birth of tragedy”.
Exploring the Relationship Between Self and the "Non-Self"
Nietzsche, being a man of his own, is cheeky and capricious. If he were put on Mount Olympus, the abode of the gods in Greek mythology, he would definitely choose to be the mischievous Dionysus. Playful as he may be, Nietzsche was a philosopher who spared no effort in dialectical thinking. That is the reason why he could criticise Wagner, the musician, with a passion of love and hatred interwoven into the fabric of his ideas. The Birth of Tragedy inspires us to think about philosophy and music, and to analyse the relationship and differences between the two. It also enlightens us on the complex and dilemma in which Western civilisations had found themselves caught after the Renaissance.
Our creative team is from Hong Kong. Through stories and the history of theatre, we explore our relationship with the non-self. One table and two chairs, the basic stage setting of traditional Chinese theatre, and the nature and structure of Chinese characters give us inspiration for us to imagine Western mythology. Let us imagine – at the two ends of the table sit Nietzsche and Wagner, each on one chair, though that is very unlikely, as Wagner certainly cannot sit still. Or let us imagine by the table finding Apollo and Dionysus sitting against each other. That, likewise, seems quite impossible, as Dionysus doesn’t play by the rules. And that is why, with non-appearance, we have stories.
The Power of theatre Is Real
We used the Grand Theatre of the Hong Kong Cultural Centre time and time again. Its history, its space, its foyer, its backstage, its revolving stage, the auditorium, exits and entrances, and the flying bars were all part of our creative works. Think of it as Mount Olympus in Greece or a study in the Ming Dynasty.
The allure of the theatre comes from its power to inspire, to empower the imaginary. Once that veil of imagination got lifted, we return to reality, back to the beginning. Such transformation inherently makes part of the creation. We don’t wallow in it, neither are we obsessed. It is because magic is unreal, and theatre, given its evanescent form, is always a world of make-believe. Nevertheless, we believe that the power of theatre is real as truly as we believe in ourselves.
此項目由香港特別行政區政府「藝術科技資助先導計劃」資助
This project is funded under the Arts Technology Funding Pilot Scheme by the Government of the Hong Kong Special Administrative Region
第八屆全球未來教育設計競賽（企業賽道）二等獎
ICVA 國際視覺藝術理事會獎頒發優異獎
KTK 設計獎（綜合設計類）優異獎
Second Prize in the 8th Global Competition on Design for Future Education (Enterprise Track)
Merit Award from the International Council of Visual Arts Nominating Award (Integrated Design) at the KTK Design
Kong Ai-ping, as a National Class One Performer specialising in guimendan (high-born female role) with her impeccable skills, successfully brought the performance to its climax.
—— Ming Pao
東方不敗造型、唱藝、造手及感情 之傳達佳，引人入勝。
錢秀蓮
Dongfang Bubai's styling, vocal artistry, gestures, and emotional expression were splendid and enchanting.
——
Miranda Chin Choreographer and Director of Miranda Chin Dance Company
With masterful yet restrained use of art tech, Jin Yong's novel has been sung, recited, acted and martial-acted into a Jing and Kun opera. Combined with top-class opera performers' effortless and expressive delivery, the souls of Jin Yong's heroes, filled with turbulence and drama, are intensified on the simple, elegant, and textured stage.”
—— Nandao
Lead of Shenzhen Culture, Southern Metropolis Daily
2024.5.17-6.9
香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre
Sponsored by the Hong Kong Economic and Trade Office in Guangdong of the HKSAR
本劇改編自金庸小說《笑傲江湖》
Adapted from Jin Yong’s novel The Smiling, Proud Wanderer
明河社授權演出
With authorisation from Ming Ho Publications
戲曲金庸．笑傲江湖
Jin Yong Xiqu Theatre
The Smiling, Proud Wanderer
〈東方不敗〉
（崑劇．生變旦）
Dongfang Bubai (Kunqu∙Sheng Dan)
導演、 Arts Tech 裝置：胡恩威 戲曲導演、演出：孔愛萍 | 編劇：張婧婧 畫外音：趙于濤
Director, Arts Tech Installation: Mathias Woo Xiqu Director, Performer: Kong Ai-ping
Scriptwriter: Zhang Jing-jing
Voice Acting: Zhao Yu-tao
全新的金庸武俠表現形式 將給觀眾帶去一場又一場 視聽盛宴。
《亞洲周刊》
Audiovisual feasts were brought to the audience via a brand-new representation of Jin Yong's martial arts world time and time again.
—— Yazhou Zhoukan
表演者嫻熟的技藝在嶄新的聲影設計加持 下更顯精湛。藝術科技元素令人嘆為觀 止，賦予故事生命力。
Joanna Mansbridge 教授 香港中文大學副教授
The skilled technique of the performers is enhanced by a state-of-the-art sound and image design. The arts tech elements are awe-inspiring and really bring the story to life.
—— Professor Joanna Mansbridge Associate Professor, The Chinese University of Hong Kong
〈獨孤九劍〉
（戲曲．武生）
Nine Swords of Dugu (Xiqu∙Wusheng)
導演、 Arts Tech 裝置：胡恩威 戲曲導演：周龍 | 編劇：周龍、張莘嘉 演出：任家樂
Director, Arts Tech Installation: Mathias Woo Xiqu Director, Percussion (recording), Voice Acting: Zhou Long
Scriptwriters: Zhou Long, Zhang Xin-jia
Performer: Ren Jia-le
進念一直很擅長用傳統的東西以新的方式去表現出來，但又不失傳統的味道。
再加上金庸 我們熟悉的主題，是個很好的體驗，是個很好的嘗試。而且很難 得，大師們可以接受新事物、新的 arts tech ，讓香港觀眾有新的體驗。 因為在香 港很少見到有這形式的表演，有傳統又有新的藝術科技。
楊立門
前香港特區政府發展局及民政事務局常任秘書
Zuni is always adept at innovating within tradition while preserving the quintessence of tradition. Featuring a theme we know like Jin Yong made for a wonderful experience and a successful attempt. What made it more special was the rare openness of the masters to embrace unconventionality and arts tech. The audience got a fresh experience. It’s uncommon to see a performance like this, with traditions so seamlessly blended with arts tech.
—— Raymond Young
Former Permanent Secretary for Development and Permanent Secretary for Home Affairs
〈令狐冲夜奔〉
（崑劇．武生 老生）
Linghu Chong: Flee by
Night
(Kunqu∙Wusheng Laosheng)
導演、 Arts Tech 裝置：胡恩威
戲曲導演：柯軍 | 編劇：于莎雯 演出：柯軍（聲影）、楊陽
Director, Arts Tech Installation: Mathias Woo
Xiqu Director: Ke Jun
Scriptwriter: Yu Sha-wen
Performers: Ke Jun (audio-visual), Yang Yang
這次跨界合作碰撞而來的 火花，在理解「傳承」與「創 新 」的關係把握上，給予有 益的啟示。
《文匯報》
The dynamism born out of this cross-disciplinary collaboration has offered valuable insights into balancing 'inheritance' and 'innovation'.
—— Wen Wei Po
〈笑傲江湖曲〉 （崑劇．生旦）
The Song of The Smiling, Proud Wanderer (Kunqu∙Sheng Dan)
I appreciate how its xiqu elements were entirely rewritten, creating a striking contrast with the visuals and offering such a new and avant-garde perspective fused with Chinese traditional opera. To me it was inspirational.
—— Keith Chan Musician and Songwriter
南音名家楊健平，聲線 雄渾，眼神凌厲，將故 事說得引人入勝。
張諾
專欄作家
Yeung Kin-ping, the naamyam artist with his deep voice and piercing gaze, told such a gripping story.
—— Zhang Nuo Columnist
舞台上的視聽和肢體動作 是榮氏的傳達訊息工具， 思索當代環境的生存狀 態，乃此劇的最終實驗目 的。
⸺《大公報》
Visuals, sound/music and physical movements on stage constitute Yung’s messaging tools. To ponder over survival in modern times is the ultimate purpose of experimenting (xiqu).
—— Ta Kung Pao
榮念曾實驗戲曲
Danny Yung Experimental Xiqu
Startup of Wusheng 武生開打
2024.6.14-15
香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre
藝術總監、導演及設計：榮念曾
戲曲指導 / 顧問：柯軍、周龍
當代表演藝術家：
松島誠（東京）、劉曉義（新加坡）
新生代武生、演員：
楊陽、任家樂、蔡雨田
傳統 / 創新民族技藝（雜技）：
康博能（臺中）
音樂：許敖山
Artistic Director, Director & Designer: Danny Yung
Xiqu Advisors / Consultants:
Ke Jun, Zhou Long
Contemporary Performing Artists: Makoto Matsushima (Tokyo), Liu Xiao-yi (Singapore)
Young Wusheng / Performers: Yang Yang, Ren Jia-le, Martin Choy
To look at how men in history evaluate one’s lifetime achievements from an artist’s point of view…(Yung’s work) speaks through artists’ de-conventionalised body movements and offers glimpses of their reflections on contemporary theatrical arts.
—— Bernice Chan
General Manager of IATC (Hong Kong)
榮念曾實驗劇場
Danny Yung Experimental Theatre
Meeting of Gods –Death of Generals (Vietnam)
2024.12.18
越南河內歌劇院大劇院 Grand Theatre, Hanoi Opera House
贊助：
香港駐新加坡經濟貿易辦事處 Sponsored by Hong Kong Economic and Trade Office in Singapore
藝術總監、導演及設計：
榮念曾
戲曲指導 / 顧問：周龍
音樂 / 聲音設計：許敖山
當代表演藝術家：松島誠（東京）、 劉曉義（新加坡）
新生代武生：任家樂
演員： Rady Nget（金邊）、 康博能（臺中）、蔡雨田 現場敲擊：李立特
Artistic Director, Director & Designer:
Danny Yung
Xiqu Advisor / Consultant:
Zhou Long Music / Sound Design:
Steve Hui (aka Nerve)
Contemporary Performing Artists:
Makoto Matsushima (Tokyo), Liu Xiao-yi (Singapore)
Young Wusheng: Ren Jia-le
Performers: Rady Nget (Phnom Penh), Kang Bo-neng (Taichung), Martin Choy
On display at the Studio Theatre Foyer, Hong Kong Cultural Centre from May to early June. The art installation combines traditional bamboo scaffolding and modern aluminum frames with LED lighting. It reimagines traditional elements in a contemporary form that invites audiences to immerse themselves in a tunnel-like space to explore the essence of xiqu
Traditional Arts In The Mobile Era –Its Inheritance and Evolution
Interview Excerpts
Mathias Woo, Co-Artistic Director
The Basics of Performing Arts
Every performer in Xiqu (Chinese traditional opera) shows “real skills,” much like martial arts masters. One must have a solid foundation in the basics to become a master. Xiqu provides the best training for performing arts. Mastering the basics of performing arts can lead to a career in performing on stage, film, or television. As xiqu is a comprehensive art form that integrates singing, recitation, acting/body movements, and martial arts, unlike the Western approach, which separates performing arts into opera, ballet, and drama, among others.
In a high-tech society of high consumption, the significance of the basic skills often weakens, since everything could be bought. Whether younger generations are willing to invest time in honing these basic skills poses a challenge to the development of arts and xiqu
Arts Tech brings innovations to Eastern Aesthetics
The theme for this year’s Zuni theatre season is “XATQ,” which tries to explore the relationship between xiqu and technology, as well as the integration of art and tech. The development of theatre is inseparable from technology. The costumes in xiqu, for instance, embodies the technique and effect of the old time. The water sleeves and the wusheng (martial male) outfit amplify the performers’ presence on stage. We, therefore, also start with costumes, combining them with xiqu performances, and innovate the interactive use of fabric and images.
Kunqu (Kun Opera) gives its best presentation through sound. We use Soundscape as the technology to capture the quality of sound for xiqu — not only to amplify sounds but also to enhance its emotional impact while preserving the authenticity of the original tone and tune, allowing the audience to feel the music.
Arts tech underlies creators’ works. Understanding Western technology brings innovation to Eastern aesthetics. And that is a form of interaction. One of Zuni’s missions in experimenting arts tech is to cultivate talents/technicians to foster new exchanges between art and technology.
The Aesthetics of Xiqu and Arts Education
Mobile phones, which create a constant demand for interaction, have changed our relationship with the arts. It becomes hard for most people to stay still and watch a performance in silence. As a result, audiences for traditional theatre will soon dwindle.
To introduce aesthetic education to children aged three to six might be a better way to grow audiences. Besides Western methods, xiqu, traditional Chinese opera, in fact contains so much fun. Xiqu, unlike short reels, includes many audio and visual symbols, as well as literary aesthetics. Even props as simple as “one table and two chairs” require the audience to keep their minds engaged and they must think.
As an artist, I experiment with ways to bring technology into theatre. That is to help children build their relationship with theatre and space. It is an experience that two-dimensional screens cannot substitute. Theatre space can evolve into various kinds of experimental forms of education.
I could see how tradition and modernity were integrated, presenting valuable aspects of tradition through contemporary forms of expression, achieving cultural inheritance.
—— Kwok Ho-cheong Xiqu Critic and Assistant Principal of HKSKH Bishop Hall Secondary School
100 %
認同活動 Agreed that the activity
提高學生 對中國戲曲的認識 Enhanced students’ understanding of xiqu
98 %
認同活動 Agreed that the activity
95 %
認同活動 Agreed that the activity
90 %
認同活動 Agreed that the activity
激發學生對
中華傳統文化的興趣 Piqued students’ interest in traditional Chinese culture.
針對小學人文科 為學生提供體驗式 學習經驗 Provided experiential learning opportunities aligned with the primary humanities curriculum.
增進學生對科技 在藝術中應用的認識 Helped students understand the application of technology in arts.
98 %
認同活動 Agreed that the activity
增加學生對
參與類似活動的興趣 Sparked students’ interest in participating in similar events.
95 %
認同活動 Agreed that the activity
可以與學生作 延伸討論 Faciliated extended discussions with students.
The Scheme is absolutely great as it serves as an introduction. Individuals with special needs often have limited opportunities to engage with this form of culture, but the Scheme provides basic exposure, which definitely helps our friends with special needs.
—— Mrs. Ko
Vice Chairman of The Intellectually Disabled Education and Advocacy League Attended Guided PerformanceThe Smiling, Proud Wanderer Meets Xiqu
Pentecostal Church of Hong Kong Tsz Fung Neighbourhood Elderly Centre
Caritas Family Support and Networking TeamSham Shui Po
Caritas Blissful Life Parents Resource Centre
Caritas Creative ART Centre
T.W.G.Hs. Wu Chiang Wai Fong Care and Attention Home
T.W.G.Hs. Jockey Club
Tin Shui Wai Integrated Services Centre
Tin Shui Wai Integrated Family Service Centre
Social Welfare Department
Lam Tin Integrated Family Service Centre
Pneumoconiosis Mutual Aid Association
Po Leung Kuk Tin Yan Home for the Elderly cum Green Joy Day Care Centre for the Elderly
The Boys’ and Girls’ Clubs Association of Hong Kong
The Mental Health Association of Hong Kong Irene House
Hong Kong Federation of the Blind
Hong Kong Children & Youth Services Tai Yuen AfterSchool Care Service Centre
Hong Kong Family Welfare Society Kai Yip Service Centre
Hong Kong Family Welfare Society
Shun Lee Service Centre
Hong Kong Christian Service Tin Tsz Small Group Home
Hong Kong Christian Service
To-gather Parents Resource Centre (Shamshuipo)
Hong Kong Christian Service
To-gather Parents Resource Centre (Kwun Tong)
Hong Kong Christian Service
Kwai Hing Early Education & Training Centre
Hong Kong Christian Service
Morrison Hill Child Development Centre
Hong Kong Whole Person Development
Training Centre by FMCHK
Retina Hong Kong
The Hong Kong Society for the Deaf (Kowloon Tong)
The Hong Kong Society for the Deaf (New Territories Multi-Services Centre)
Evangelical Lutheran Church Social Service - Hong Kong -
Ma On Shan District Elderly Community Centre
Christian Family Service Centre Yang Chen House
Christian Family Service Centre
Wang Tau Hom Day Care Centre for the Elderly
Christian Family Service Centre Jockey Club Youth Leap
The Salvation Army
Tai Po Multi-service Centre for Senior Citizens
The Salvation Army Yaumatei Multi-Service Centre for Senior Citizens
The Salvation Army Heng On Hostel
Pok Oi Hospital Mr Ng Hung Mow Memorial
Family Multiple Intelligences Centre
Pok Oi Hospital Mrs Cheng Liu Sam Memorial
Children and Families Development Centre
Sisters of the Good Shepherd Our Lady’s Hostel
Free Methodist Church
Tuen Mun Children & Youth Integrated Services Centre
Asbury Methodist Social Service
Sik Sik Yuen Ho Kin
District Community Centre for Senior Citizens
New Home Association Kowloon East Service Centre
New Home Association
New Territories West Service Centre
New Home Association
Jockey Club Tin Shui Wai Service Centre
Agency for Volunteer Service
Jockey Club
Yung Shing Lutheran Integrated Service Centre
(Love Around Fanling South Neighbourhood
Supporting Programme)
Lutheran Community Centre for Social ServiceJockey Club Yung Shing Integrated Service Centre
The Neighbourhood Advice-Action Council
Shamshuipo District Elderly Community
The Intellectually Disabled Education and Advocacy League
Lam Tin Integrated Family Service Centre
Seeds of Art Charity Foundation Co. Ltd
主辦機構 Organised by
捐助機構 Funded by
特邀策劃人、藝術顧問
Special Guest Curator, Artistic Consultant
靳埭強博士 , SBS, BBS
Dr. Kan Tai-keung, SBS, BBS
• 汕頭大學長江藝術與設計學院榮譽院長
• 北京中央美術學院、清華大學客座教授
• 鄭州美術學院名譽教授
• Honorary Dean of the Cheung Kong School of Art and Design, Shantou University
• Guest Professor of Central Institute of Fine Arts in Beijing and Guest Professor at Tsinghua University in Beijing
• Emeritus Professor at Zhengzhou Academy of Fine Arts
書法顧問
Calligraphy Consultant
徐沛之博士 Dr. Chui Pui-chee
• 中國美術學院書法系博士
• 甲子書學會執行委員（學術）
• 中國美術學院現代書法研究中心研究員
• Obtained Doctoral Degree at the Department of Chinese Calligraphy of China Academy of Art
• Executive member of The Jiazi Society of Calligraphy
• Research fellow of Modern Calligraphy Research Center of China Academy of Art
藝術總監、策劃及藝術科技設計
Artistic Director, Curator & Arts Tech Installation
胡恩威 Mathias Woo
• 進念・二十面體聯合藝術總監暨行政總裁
• 跨界劇場及多媒體劇場先鋒，策劃「建築是藝術節」、 「 Z Innovation Lab 」、「國民藝術教育計劃──藝術及設計系列」
• Co-artistic Director cum Executive Director of Zuni Icosahedron
• A pioneer of interdisciplinary and multimedia theatre, initiated and curated Architecture is Art Festival, the Z Innovation Lab, National Arts Education Programme – Arts and Design Series
進念．二十面體由香港特別行政區政府資助 Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region
根據《稅務條例》第 88 條獲豁免繳稅的慈善團體
A charitable institution is exempt from tax under section 88 of the Inland Revenue Ordinance
This year, the theme of the programme is Calligraphy — a unique and beautiful expression of Chinese culture. It blends the art of ink wash painting with the elegant structure of Chinese characters, forming a cultural heritage unmatched anywhere in the world.
Our goal is to introduce calligraphy to children, parents, and anyone curious about Chinese traditional culture. We are utilising arts tech to present the concepts of calligraphy in engaging new ways.
Two special guests were engaged in the curatorial process.
Dr. Kan Tai-keung – a renowned Hong Kong designer celebrated for merging traditional Chinese aesthetics with modern design. Dr. Chui Pui-chee – a respected Hong Kong calligrapher trained under Professor Wang Dong-ling at the China Academy of Art. He is known for blending innovation with respect for tradition and is passionate about calligraphy education.
Rooted in tradition, this project introduces new technologies and creative methods to offer an immersive learning experience for all participants. After their participation in the theatre, we provide an online educational kit so that they can carry on their learning journey at home.
Through this initiative, we aim to transform theatres into a space for learning, creativity, and inspiration, connecting people with the heart of Chinese culture.
DFA 亞洲最具影響力 設計獎 2025 銅獎
Bronze Award in DFA Design for Asia Award 2025
KTK 設計獎
全球華人設計比賽 專業組（綜合設計）銅獎 Bronze Award in Worldwide Chinese Design Competition Kan Tai-keung Design Award (Integrated Design)
2025 ICVA
國際視覺藝術理事會獎 銅獎（專業組）
2025 International Council of Visual Arts (ICVA) Award (Bronze Award)
艺术科技儿童剧场 多感官学习体驗
Arts Tech Children Theatre – Multisensory Learning
Director & Arts Tech Installation Designer: Mathias Woo | Music Director: Yu Yat-yiu | Assistant Artistic Director, Lyrics: Cedric Chan | Calligraphy Instructor: Dr. Chui Pui-chee | Illustration: Lai Tat-wing | Stories and Creative Research: David Yeung | Script and Text: Zachary Pink Yung | Creation, Arts Guides: Gordon Lee (Harmonica), Kang Bo-neng (Acrobatics), Ray Tang, Zachary Pink Yung | Arts Guides Support: Tristan Shea (Harmonica) | Guides: Chuk Yin-man, Carson Chung, David Yeung | Creative Assistant, Guide: Chloe Li
參與者
99 % participants
喜歡藝術科技劇場 學習體驗
Enjoyed the learning experience in the Arts Tech Theatre
結合兒童創意音樂劇場、 現場沉浸體驗
Integrating creative children theatre with immersive experiences
Using lyrics to interpret the grid structures of Chinese characters and teach us how to utilise each grid is a clever approach... The tunes are catchy, and the kids can find the lyrics online and learn to sing along.
—— Li Suk-ting Officer, Parents Support Service The Hong Kong Society for the Deaf
讓大小朋友一起體驗書法的 人文知識和美學
Experiencing the cultural knowledge and aesthetics of calligraphy
參與者 94 % participants
增加中華文化「書法」 體驗和興趣
Gained experience and interest in Chinese calligraphy
參與者 91% participants
希望再參與同類型 活動
Hoped to participate in similar type of activities again
The rising and falling of the ceiling projection is interesting and helps capture the children’s attention. Also, the White Monkey King plays the harmonica with varying rhythm, which can visually represent the writing speed of the five script styles.
—— Mr. Tsang (Parent)
參與者 91% participants
會將經驗分享給他人 並邀請他人參加
Stated that they would share the experience with others and invite them to participate
香港普通話研習社科技創意小學課外活動主任 Five-script Universe is my favourite part, as it’s truly unique. Despite years of teaching and working with calligraphy, I’ve rarely seen it matched with rhythm. This time, using the harmonica, a special instrument, to connect calligraphy, rhythm, and musical sense is exceptional.
—— Tam Miu-ling ECA Director, Xianggang Putonghua Yanxishe Primary School of Science
以眼觀賞、耳聆聽、心分析和手互動
Looking with the eyes, listening with the ears, reading with the mind, and getting hands-on experience
By the Ink Pond, the two Black Monkey Kings performed the ‘ink-grinding spell’ and modern dance movements reminiscent of ink grinding and writing. Their actions interpret the powerful brush style and momentum described by the Eastern Jin calligrapher Lady Wei in her Diagram of the Battle Formation of the Brush
The most striking feature is the effective use of the theatre spaces and the innovative application of stage technology as educational tools. Whether it is the versatile video projections, the immersive sound effects, or the interactive screens that allow every audience to take part directly, all these elements enable attendees to gain an effective understanding of Chinese culture in a short period of time.
Ta Kung Pao
運用了靜觀上的五感，例如要聆聽 墨水的聲音、觀察墨水的流動，去 聞墨的味道，很靜觀地用心去感受。
香港循理會香港全人發展 專業培訓中心職員
The experience engages the five senses in a mindful way, for example, by listening to the flow of the ink, observing its flow, and smelling its fragrance. These all encourage a calm, mindful appreciation.
—— Staff, FMC Social Service, Hong Kong Whole Person Development Training Centre
認識漢字、探索書法字體和了解 文房四寶，親身體驗學習書寫書法
Learning Chinese characters, exploring script styles, and understanding the Four Treasures of the Study through experience and practices
影像投放到每人跟前的大屏 幕上……大家都非常投入地 學習書寫，不亦樂乎。
The visuals were projected onto the large screen in front of everyone... Everyone was deeply engaged in learning to write, thoroughly enjoying themselves.
藝術當下 Artistic Moments
“Play to Learn” Educational Kit
以漫畫講解書法知識
Illustrating calligraphy knowledge through comics
這知識不但只停留在這兩個小時 內，而且還可以帶回家學習……
The knowledge didn’t just rest here within those two hours - you can take it home and keep on learning...
認為學習材料配合 小學人文科及中文科
Agreed that the learning kit aligns with primary school humanities and Chinese language curricula
教師
認為學習材料
非常實用
Found the learning kit greatly practical
認為培訓工作坊
非常有用
Considered the training workshop greatly useful 教師 97% Teachers
中華文化「玩＋學」學習冊及網站
Chinese Culture PLAY to LEARN Learning Kit & Website
Dr Chui is very creative... What I appreciate the most is Dr Chui’s emphasis on enjoying the process; I believe this approach makes learning calligraphy much more fun for children.
—— Mrs. Kan (Parent)
教育者工作坊
Train-the-trainers
小學人文科及中華文化教學應用
Enhancing Humanities and Chinese Culture Teaching in Primary Schools
中華文化教育社區工作坊 Community Workshop on Chinese Culture Education
2024.7.11-12
大館賽馬會立方演講廳
JC Cube, Tai Kwun
嘉賓講者： 靳埭強博士， SBS ， BBS 、徐沛之博士 | 主持：胡恩威
Guest Speakers: Dr. Kan Tai-keung , SBS, BBS Dr. Chui Pui-chee | Moderator: Mathias Woo
教師與社工工作坊 Promotions of Calligraphy Workshop for Teachers and Social Workers
2024.10.25
牛池灣文娛中心劇院 Theatre, Ngau Chi Wan Civic Centre
對於校長、老師而言，絕對 是難能可貴的機會，大家從 分享中掌握以創新手法傳承 中華文化的要訣。
⸺《星島日報》
This chance proved invaluable for both principals and teachers, enhancing our understanding of how to carry forward Chinese culture through innovative approaches.
—— Sing Tao Daily 靳博士的分享深入淺出，他 的教材都是信手拈來，給教 育或老師一個很大的啟發。
⸺陳民有主任 聖嘉勒女書院
Dr. Kan delivered a succinct presentation, and his materials proved to be very handy. That not only inspires teachers, but also offers insight into education.
—— Mr Chan Man-yau St. Clare's Girls' School
暑期實習計劃及進念藝術科技劇場基礎課程
Summer Internship and Arts Tech Theatre Introductory Course
Instructors: Cedric Chan, Chan Wing-kit, Carmen Cheng, Cho Chi-yan, Chow Chun-yin, Ko Man-kit, Kinphen Leung, Mak Kwok-fai, Johnny Sze, Mathias Woo, David Yeung, Yu Yat-yiu
This was my very first hands-on opportunity. Experiencing an actual production helped me find my interests and allowed me to take part in works related to media, culture, and the arts.
—— Tang Yan-kiu (intern)
Final year student, Bachelor of Arts (Global Creative Industries, Media and Cultural Studies), The University of Hong Kong
實習生 100% interns
表示對未來發展非常有幫助
Stated that the experience was extremely helpful for their future development
None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.
《悲劇的誕生》進念表演基礎課程
The Birth of Tragedy
Zuni Performance Introductory Course
2024.7.19-20
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
主持：黃裕偉
Moderator: Wong Yuewai
2024.9.4, 9.6
香港文化中心排演室 GR2
Rehearsal Room GR2, Hong Kong Cultural Centre
導師：陳浩峰、楊永德、梁冠麗 示範：竺諺民
Instructor: Cedric Chan, David Yeung, Theresa Leung
Demonstration: Chuk Yin-man
「藝術科技資助先導計劃」冬季課程
Z Arts Tech Winter Course of the Arts Technology Funding Pilot Scheme
「開箱 XR 虛擬製作」
XR 科技分享及導賞
XR ExplainedWorkshop on the basics and applications of extended reality (XR)
2024.12.13
Votion 工作室 Votion Studios
冬季課程 劇場入門
單元 A ﾠ「劇場、空間、藝術科技」
單元 B ﾠ「聲音 / 音樂、沉浸式音響」
單元 C 「燈光和追蹤技術」
單元 D ﾠ「沉浸式和互動性」
Z Arts Tech Winter Course:
Unpacking Theatres
Unit A. Theatre, Space, Arts Tech
Unit B. Sound/Music, Immersive Audio
Unit C. Lighting and Tracking
Unit D. ‘Immersive’ and Interactivity 2024.12.20-21
葵青劇院黑盒劇場
Black Box Theatre, Kwai Tsing Theatre
此項目由香港特別行政區政府「藝術科技資助先導計劃」資助
This project is funded under the Arts Technology Funding Pilot Scheme by the Government of the Hong Kong Special Administrative Region
Since late 2024, with support from Henderson Land Development Co. Ltd., Zuni has officially developed and moved into the “Zuni Arts Tech Lab”. In the hope of promoting youth training in arts tech, a series of arts tech experimental and showcase workshops have also been launched. Zuni continues to experiment theatre and experiment arts and technology.
新加坡南洋藝術學院 藝術科技駐留計劃 2025
Nanyang Academy of Fine Arts (NAFA, Singapore) Arts Tech Residency 2025
2025.3.3-7
南洋藝術學院 Lee Foundation Theatre Lee Foundation Theatre, Nanyang Academy of Fine Arts (NAFA)
與新加坡南洋藝術學院聯合主辦
Co-organised with Nanyang Academy of Fine Arts (NAFA)
VICAS-Zuni Hong Kong-ASEAN Cultural Synergy and Strategy Forum “The Role of Higher Education”
2024.12.19–20
河內越南國家文化藝術研究院大樓會議廳 Meeting Hall, Vietnam National Institute of Culture and Arts Studies, Hanoi
與越南國家文化藝術研究院聯合主辦
Co-organised with Vietnam National Institute of Culture and Arts Studies
會議召集人及團隊：
榮念曾、黃裕舜、黃裕偉、 Nguyen Thi Thu Ha 博士
Convening Core: Danny Yung, Dr. Brian Wong, Wong Yuewai, Dr. Nguyen Thi Thu Ha
「成渝國際戲劇雙城記」 閉幕頒獎典禮
2024.9.29
江蘇省演藝集團與 進念中華傳統文化創新中心 共建 備忘錄 簽署儀式
The Chengdu-Chongqing International Theatre Festival Closing and Award Ceremony MOU Signing Ceremony between Jiangsu Performing Arts Group & Zuni for the establishment of Chinese Traditional Culture Innovation Centre
成都彭州市文化館劇場 Theatre, Pengzhou Cultural Center, Chengdu
榮念曾獲頒發「國際合作顧問」聘書 Danny Yung was awarded the appointment letter of International Cooperation Consultant
2025.1.21
江蘇省演藝集團 Jiangsu Performing Arts Group
代表：胡恩威 Representative: Mathias Woo
三代攜手小劇場 崑 劇 《宮祭》
Inheritance through Three Generations in Kunqu A Tale of Forbidden City
2024.11.30
南京演藝星空劇場
Nanjing Performing Arts Star Theatre
由進念．二十面體出品
演出單位：江蘇省演藝集團崑劇院
Presented by Zuni Icosahedron
Performed by Jiangsu Performing Arts Group
Kun Opera Theatre
策劃、導演及設計：胡恩威 編劇：張弘
主演：施夏明、李鴻良
訂譜：遲凌雲
音樂設計：戴培德
傳承老師、幕後吟唱：石小梅 幕後吟唱：錢振榮
Curator, Director, and Design: Mathias Woo
Scriptwriter: Zhang Hong
Performers: Shi Xia-ming, Li Hong-liang
Score: Chi Ling-yun
Music: Dai Pei-de
Master of Inheritance & Off-Stage Singing: Shi Xiao-mei
Off-Stage Singing: Qian Zhen-rong
上海戲劇學院訪港團交流
Shanghai Theatre Academy’s Visit and Exchanges
2024.4.8–9
d&b audiotechnik 工作室 太平洋會 d&b audiotechnik Greater China, Pacific Club
講者：胡恩威
參與：陳家強、厲震林、謝巍、徐晶、張雲蕾
Speaker: Mathias Woo
Participants: Daniel Chan, Li Zhenlin, Xie Wei, Xu Jing, Zhang Yun-lei
第二屆一品藝術節「城市鏡像」：
《驚夢．佛洛伊德當代藝術展》開幕禮及長沙交流項目
2nd Sanxiang Art Festival - Urban Reflection: Awakening-Freud & Contemporary Arts Exhibition and Cultural Exchange programme in ChangSha
義工： Catherine Chan 、陳嘉瑤、陳琦楓、陳敏澄、鄭善彤、 張夢婷、張彥雯、張恩彤、張穎賢、蔡銘慈、 Karen Chu 、 方詠欣、何柏霖、葉依林、 Ju Ree 、黎欣瑜、林原鉦、 劉宇熒、梁卓琳、 Theresa Li 、廖曉怡、 Emma Lung 、 莫迪朗、吳昕瑤、 Harry Poon 、 Sophie Tam 、鄧希樂、 溫芷晴、黃小鳳、王裕珊、楊學希、楊子澔、楊嘉欣、 姚玉琦、 Yammie Yu
Visual Design
Photography (Left Unsaid Poster): Wing Shya
Guest Documentation Photographer: Stanley Wong (anothermountainman)
Photography: Yvonne Chan, Feng Shun-xu (Guangzhou), May James, Apple Lai, Crystal Li, William Li, Ebohom Liga, Lin Ka-ming, Tam Kui Chun, Vic Shing, Brian Yiu
Costume: Twinny Cheng, Beijing Jing Ya Art Studio Stage Costume Company (Beijing)
Hair & Makeup: Annie G.Chan, Lee Wing-hung, Billie Siu, Janet Wong, Pius Yiu@Orient 4
Graphic Design: Rachel Chak, Coco Cheung, Pollux Kwok, Lee Ken-tsai (Taipei), Wong San-mun
Design Executive: Chow Yao-feng, Alva Lam, Carol Mak
In this fiscal year, we secured $2,130,201 from the Art Development Matching Grants Scheme to establish the Arts Tech Lab for research on the application of Arts Tech and talent training, and to support internship, Artist-in-Residence and professional services to enhance financial management.
媒體伙伴 Media Partners
鳴謝 Acknowledgements
水馬人會館 Aphros Studio CASH 音樂基金 CASH Music Fund
皇冠文化集團 Crown Publishing Co., Ltd.
明河社 Ming Ho Publications
Red Carpet Holdings Limited
Ms Leung Raena Hou Ling
盧永強先生 Mr David Lo Mr Eliott Hancock Suen
孫陽先生 Mr Sunny Sun
葉潔馨女士 Ms Kitty Yip Kit Hing
百老匯電影中心 Broadway Cinematheque
神話書店 Dionysus Books
誠品書店 Eslite Bookstore
留下書舍 Have A Nice Stay
香港亞洲電影節 Hong Kong Asian Film Festival
獵人書店 Hunter Bookstore
根據《稅務條例》第 88 條獲豁免繳稅的慈善團體 A charitable institution is exempt from tax under section 88 of the Inland Revenue Ordinance
Kubrick
靈活聯繫 Link-Work Communications (HK) Ltd
天星小輪有限公司 Star Ferry
榮基花牌（香港）有限公司 Wing Kei Flower Store (HK) Ltd
香港董氏慈善基金會－ 青少年聽眾計劃 The Tung Foundation –Young Audience Scheme (YAS)
Time Auction
Total Ticketing
香港上環樂古道 38 號 啟時大廈 10C 室 Unit 10C, Casey Building, 38 Lok Ku Road, Sheung Wan, Hong Kong zuniseason.org.hk
