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How are performing arts organizations redefining audience engagement through collaboration, technology, and creativity? From co-curation and youth involvement to virtual factories and XR productions, the discussion emphasized building long-term community connections that extend beyond performances. Moderator Soo Hyun Kim | Arts and Culture Correspondent, SBS Speaker Low Kee Hong | Artistic Director, Manchester International Festival Jinhak Park | CEO, StageOne Sunmi Kim | Director, Korea Manhwa Contents Agency Inventing Tomorrow Together Low Kee Hong described the festival’s long-term vision of cultivating sustained relationships with audiences, artists, and communities. Engagement is viewed not as a one-time encounter, but as an ongoing network of shared experiences, much like bonds within a family. The festival emphasizes co-curation, where artists, residents, and young people are partners in shaping programs; learning and youth engagement, empowering emerging voices; and community research led by local organisers to identify and understand audiences. To expand reach beyond traditional venues, the festival experiments with digital hybrid formats, XR productions, and large-scale public realm experiences. Initiatives such as Factory+, a virtual cultural hub developed in collaboration with major technology partners, attracted 1.5 million visitors worldwide. Works like VR-based hybrid exhibitions (e.g., Sweet Dreams) demonstrate how immersive environments can bring people together in shared creative encounters. Supporting artist development and experimentation remains central, ensuring that new audiences are engaged from both cultural and technological perspectives. New Audiences, New Approaches: Curating Classical Music for a Changing World Jinhak Park examined how the Korean classical music market has shifted toward a celebrity-centered model, where a small number of celebrated pianists achieve widespread visibility while many other talented musicians remain underrecognized. As cinema and game music concerts increasingly attract younger audiences, strategies are needed to broaden interest beyond a few star figures. To reconnect classical music with contemporary culture, Park emphasized positioning concerts as accessible entertainment rather than formal, restrictive events. Approaches include allowing casual photography, improving venue food and beverage offerings, and adopting marketing strategies inspired by popular cultural industries. Addressing structural issues, such as ticket scalping and over-discounting, will also help sustain value and trust. Park encouraged artists to embrace the role of storytellers and performers, explore diverse themes, and develop merchandise and fan communities to deepen engagement and create new pathways for revenue. Comics on Stage: Reborn as Creative Art Sunmi Kim highlighted how manhwa and webtoons, characterized by their responsiveness to social trends and accessibility through open platforms, have become rich sources for live performance adaptation. Their active reader communities and vivid storytelling provide strong foundations for theatrical reinterpretation across genres. Several recent productions illustrate this potential: The Great Gatsby (Kang Do-ha) reimagined as multiple musical adaptations. Navillera, a deeply human narrative of intergenerational ballet dreams, now touring internationally. Along with the Gods, staged with immersive LED installations to recreate its expansive universe. Jeongnyeon, the first webtoon adapted into changgeuk (traditional Korean opera). Key factors for success include maintaining balance between the original narrative and stagecraft, leveraging fandom culture, integrating technology, and expanding intellectual property globally. Looking ahead, strategies for revitalization involve bridging comic fans and theater audiences, pursuing international markets, and experimenting with genre fusion and digital staging formats. Together, these shifts signal a new era where art forms merge, industries collaborate, and the stage expands far beyond its physical boundaries.

How are performing arts organizations across Asia reimagining their roles through innovation, inclusion, and collaboration? From digital transformation and community engagement to the creation of accessible experiences, the arts are expanding beyond traditional boundaries to connect with diverse audiences. Moderator Paul Tam | Executive Director, Performing Arts, West Kowloon Cultural District Speaker Yvonne Tham | CEO, Esplanade Meggy Cheng | Executive Director, Hong Kong Dance Company Ms. Tham introduced Esplanade Offstage and Baybeats as key platforms for expanding artistic networks and deepening public engagement. Esplanade has strengthened its membership program, enhanced digital integration, and adopted marketing automation to better understand and serve diverse audiences. The organisation has also focused on building meaningful connections with local communities through neighbourhood-based initiatives and outreach. To promote inclusivity, Esplanade offers accessible ticketing and concession programs for people with disabilities, ensuring that the arts are welcoming and reachable to all. This holistic approach reflects Esplanade’s commitment to cultivating participation across generations, interests, and lived experiences. Ms. Cheng discussed how Hong Kong Dance Company (HKDC) continues to develop Chinese dance for contemporary audiences, while maintaining cultural roots. HKDC has showcased works internationally, including Hong Kong Week 2025 @ Seoul, and consistently highlights traditional aesthetics such as martial arts and historic cultural figures. In response to shifting audience behaviors, intensified cultural competition, technological disruption, and economic constraints, HKDC has pursued new strategies: Artistic Convergence: Combining martial arts and Chinese dance to create original works that resonate on global stages. After Snowfall: A collaboration with artist Chris Cheung, using brainwave and augmented reality technology to explore movement and perception. Storm Clouds: Inspired by a classic Hong Kong comic, featuring outdoor 3D projection mapping and cross-media storytelling to expand audience reach. Creative Partnerships: Collaborations with brands like Tamjai and international partners have generated alternative funding streams and broadened cultural presence. Wellness and Community Engagement: Workshops on mindfulness and healing connect dance with health and everyday living. Expanded Accessibility: HKDC presented its first performance featuring wheelchair dancers and introduced tactile tours for visually and hearing-impaired audiences to experience performance through physical touch and spatial exploration. Meggy emphasized the belief that every individual plays a role in shaping the future of the arts: “Any form of art is a form of power—it has impact; it can inspire change.” By integrating martial arts, augmented reality, comics, and multi-sensory design, performing arts institutions are transforming cultural heritage into new forms of storytelling. Cross-industry partnerships, wellness workshops, and inclusive performances featuring wheelchair dancers and tactile tours demonstrate how the arts can empower and inspire social change. The future of performing arts lies in this intersection of creativity and empathy—where innovation not only enhances expression but also strengthens the human connection that art embodies.

In the age of AI, what is the role of human creativity? This forum explored how technology and art intertwine to shape the future of performance. Moderator Glorife Samodio | Director, Culture and Arts Office, De La Salle University Speaker Seong-Woo Kim | Professor, Graduate School of Engineering Practice, Seoul National University Escher Tsai | Founder, Dimension Plus & Hello World C.E. Professor Kim’s talk explored the intersection of humans, artificial intelligence, and performance. Drawing on his experience developing PhD-level robots and current work on autonomous art robots (including robots capable of navigating car parking spaces), he demonstrated how robotics can be integrated into creative practice. A live demonstration featuring a dog-like robot illustrated how programming, engineering, and performance can merge into a cohesive stage experience. His collaboration with a student led to the establishment of a laboratory where students learn to design machines and participate in hands-on workshops. In this approach, artistic concepts are translated into robotic forms through shared keywords. AI proposes visual ideas, while humans act as orchestrators who shape and refine the overall creative direction. However, he also observed that many Korean universities still prioritize mathematics over arts and culture, posing a challenge to interdisciplinary growth. Mr. Tsai introduced the Arts in School initiative at the National Taichung Theater (2022), which focused on encouraging unconventional thinking, digital literacy, and AI literacy. Participants were guided to explore imagination in its raw form—for example, by recording their first thoughts upon waking and transforming them into expressive drawings. This mirrored the creative logic used in AI image generation, where prompts serve as the seed for imaginative output. One interactive activity, “Street Fighting,” enabled images to compete through public voting. These “battles” could occur between humans and AI, between two AIs, or between two human creators, prompting reflection on authorship, style, and agency. In 2024, the project expanded into a phase called “Patching,” addressing AI bias. Participants examined how cultural assumptions influence AI-generated images and tested whether refined training could produce more culturally grounded visual results. Further experimentation in 2024 included movement-based prompting. In collaboration with Cloud Gate Dance Theatre, dancers’ motions were captured in real time, processed by AI, and projected as dynamic visual forms on stage. By 2025, the project aims to include audiences directly as co-creators. The session also raised broader questions: How will older generations adapt to AI-integrated artistic environments? And how might AI influence or transform traditional performance practices such as Chinese opera? ‎ As we look ahead, a key question emerges: How do we continue to think, feel, and create meaningfully in a world where AI also imagines?

The challenges we face today are more complex than ever — and no single technology, not even AI, can solve the emotional and ethical struggles rooted in human desire. What we truly need is to strengthen the force of empathy and look back at the wisdom in our traditions. Moderator Sun-Goo Jung | President, A&A, Artistic Director of Samcheong-Gak Speaker Seiichi Kondo | President, Kondo Institute for Culture & Diplomacy Panelist In Gun Park | C.E.O., National Theater of Korea Joyce Chiou | General and Artistic Director, National Taichung Theater This keynote explored how the long arc of human cultural development shapes our present challenges and future possibilities. Humanity has evolved remarkably from the cognitive revolution to the agricultural revolution, achieving systems of governance, social stability, economic growth, and the accumulation of knowledge and technological progress. Yet, these very successes have introduced new complexities. Modern societies face interconnected challenges that often surpass our capacity to manage them. Technologies, while transformative, can also amplify inequality, competition, and unchecked desires, widening the gap between the ideals of liberal democracy and lived reality. Artificial Intelligence may help us navigate some of these systemic issues, but it cannot resolve the emotional and motivational dimensions at the heart of human behavior. The Essential Role of Empathy Empathy, deeply rooted in our evolutionary development, enabled early humans to form stable communities and cooperate toward shared goals. Neurological mechanisms such as mirror neurons illustrate how empathy allows us to feel with others, not just think about them. Strengthening empathy remains essential if we are to prioritize long-term collective well-being over short-term self-interest. Asian Values for a New Paradigm Traditional Asian values—harmony, discipline, responsibility, spiritual cultivation, consensus-building, and perseverance—provide cultural foundations for nurturing empathy and cooperative problem-solving. History shows us that laws alone are insufficient for lasting peace; the emotional and moral bonds between people matter just as much. The Unifying Power of the Arts Culture and the arts, especially music, can bridge divides where language and politics cannot. Music creates shared emotional experience and social identity. For example, lullabies once played a crucial role in communal childcare and survival. Today, the arts continue to foster connection across borders, backgrounds, and generations. Towards a Hybrid Civilisation As we face increasingly complex global challenges, we must strengthen the cultural and emotional capacities that allow societies to work together. While AI may assist us intellectually, empathy must guide the choices we make. Asian traditions offer valuable resources for building this foundation, while innovation and creative experimentation—especially among younger generations—will push our societies forward. FACP’s ongoing work already demonstrates the power of cultural exchange in cultivating empathy across the region. Expanding this effort globally may be one of the most meaningful contributions Asia can offer to the world today. During the discussion, the speakers reflected on the ethical dimensions of culture and technological advancement. Mr. Kondo emphasized the need for continual dialogue to ensure that progress does not harm individuals or communities. Mr. Park highlighted the importance of addressing ethical concerns proactively. Ms. Chiou expressed uncertainty about how AI will evolve, but stressed the importance of nurturing empathy in children, reminding us, “When AI is silent, it may simply lack data. Humans are different—our minds are always in motion.”

🥇 1st Prize & FACP Members' Choice - Non-Music , 2025 Clare C. & Friends Fellowship A Word from the Producer Since 2021, I have been collaborating with Théâtre des Enfants Terribles, co-producing several small- to medium-scale performances including One day with Death and HEY! YOU. The company is known for its concise yet humorous physical storytelling, adept at guiding intergenerational audiences to discover personal emotional connections beneath playful and whimsical surfaces. In HEY! YOU, the creative team tells the story of a musician’s journey — a metaphor for the challenges we all face in growing up. It asks: when our purest, earliest form of love begins to shift under the weight of reality and external pressures, can we find a new way to love again? HEY! YOU transcends language. With inventive live music and deconstructed instrument design, the performance offers a surprising and original sonic experience — an unseen landscape of sound. Both adults and children will find themselves drawn into a space where humor, curiosity, and the spirit of artistic playfulness are shared with sincerity. About Project A-Lo loves to share music. He and his best friend ‘Cello’ travel everywhere and share beautiful melodies to everyone they meet. One day, during a concert, the sound of Cello suddenly became very strange. A-Lo tried to make a normal sound, but no matter how he tried it, Cello made an odd and unpleasant sound. To make matters worse—Cello got angry! Cello turned into something A-Lo had never seen before. Amid a whirlwind of dizzying chaos, A-Lo entered a mysterious space that was strange, yet somewhat familiar... Form & Feature A Universal Language: Variations on “Twinkle, Twinkle, Little Star" Deconstructing the Instrument Light and Shadow Objects and Materials Feedback from Audiences ★ The performance was filled with rich variations, and the transformations of the cello's diverse expressions were truly impressive. I love the image of the drifting sheet music so much. I believe that anyone who has ever learned an instrument or studied music, whether as a child or an adult, will surely resonate through the performance. Upcoming Shows JULY–December 2026｜Tour in Taiwan Spring 2026｜Japan, Korea, Singapore (pending selection) Contact Kuan-yi WANG Producer Email: kuanyiwang45@gmail.com

🌏 Sustainable Creativity Prize - 2025 Clare C. & Friends Fellowship About Project This work explores the theatre as a micro-ecological system built by bodies, technologies, and audiences. It asks: Before everything disappears, can we still resonate here? Inspired by the Gaia Hypothesis, which views Earth as a co-adaptive, self-regulating organism, the performance frames each bodily action as part of a larger, shared energy system. Led by three creators from choreography, sound, and stage installation, the project dissolves traditional artistic boundaries. Instead, movement, sound, and spatial construction become energy-generating acts. We do not depict the absence of power—we produce it. Lights are lit, sounds are made, and the stage is assembled through labor. The performance begins in darkness, like entering a cave, and unfolds only as energy is created in real-time. Our team has developed a piezoelectric lighting system using piezo components and LED modules. Piezoelectricity is a physical phenomenon where specific crystals (like quartz or ceramics) generate small voltages under pressure or impact. Commonly used in sensors and micro-energy devices, this principle is reimagined here as a theatrical energy source. When performers strike or press on devices and instruments, the piezo materials convert mechanical energy into electrical energy, triggering LED lights. Reflective structures amplify the dim light. This system also functions within musical instruments, forming feedback loops of motion, sound, and light. Hand-crank generators supplement the system for sustained or high-intensity light outputs, offering flexible and expressive energy control. Upcoming Shows 2027.03.20/ 03.21 Bucheon 2027.03.25 Daegu Contact Chao-Ming Ko Cocreator, Piezoelectric Marimba leader Email: elleviolin0217@gmail.com

🥉 3rd Prize - Music, 2025 Clare C. & Friends Fellowship About Project “Carnival of Endangered Animals” is a contemporary ecological chamber music project reimagining Camille Saint-Saëns’ 1886 classic. Inspired by both environmental urgency and the power of musical storytelling, this work replaces the original's light-hearted caricatures with sonic portraits that reflect today’s climate and extinction realities. Each movement represents an endangered species or a vanishing cultural identity, expressed entirely through acoustic chamber instruments. The work emphasizes sound over image, portraying presence, identity, and ecological tension through extended techniques, timbral layering, and symbolic transformation of known musical themes. Importantly, this work reflects how the climate crisis changes the very language of classical music. Shifts in rhythm, harmony, and structure mirror changing seasons, disrupted ecologies, and collective anxiety. In this way, musical form itself becomes an ecological statement. About The Collab Founded in July 2022 by pianist Jihye Yoo and flutist Jiyeon Seo, The Collab is an interdisciplinary music collective based in Incheon, South Korea. The group was initiated by classically trained artists—many of them parents—seeking to create ecologically and socially conscious performances. Upcoming Shows November 2026 & Seoul (or Daejeon) Contact Yoo Jihye Director Email: isac101@naver.com

🥈 2nd Prize - Music, 2025 FACP - Clare C. & Friends Fellowship About Project “Folk Songs and Lullabies: A Cultural Exchange between the Philippines and South Korea” is a vibrant cross-cultural initiative that brings together the heart of two nations through the universal language of music. This project offers a rare and enriching opportunity to explore shared human experiences through folk songs, lullabies, storytelling, and visual arts from both cultures. Anchored on the Himig Himbing initiative of the Cultural Center of the Philippines, this project aims to reimagine Filipino and Korean lullabies and folk songs by creating contemporary music interpretations with music videos. Fostering cross-cultural exchanges between the Philippines and South Korea, this initiative aims to nurture mutual appreciation and dialogue between the two countries through shared musical heritage and artistic collaboration. This project also includes live performances of the folk songs and lullabies in various venues in South Korea and the Philippines, as well as visual and interactive exhibit showcasing traditional musical instruments and visual narratives of both countries. Supported by the esteemed networks of FACP and AAPPAC partner institutions, the initiative ensures artistic excellence and thoughtful curation. It features dynamic performances, immersive workshops, collaborative research, and evocative exhibits that bridge past and present. More than a preservation effort, this exchange fosters dialogue between generations and nations, empowering young artists and audiences to rediscover, reinterpret, and celebrate their musical heritage on a global stage. Upcoming Shows August - September 2026 - South Korea (Seoul, Busan, Daejeon) October - November 2026 - Philippines (Manila, Cebu) Contact Maria Glaiza Lee Information Officer III Email: markiza47@gmail.com

🥇 1st Prize - Music, 2025 Clare C. & Friends Fellowship Performance Overview "Thus I Died in a Dream: 3 Rooms" is a groundbreaking 70-minute neo-traditional multidisciplinary performance that reimagines death as a transformative journey toward new beginnings. Drawing from Buddhist and Taoist concepts of reincarnation and Korean Han (恨) culture, this immersive experience weaves Eastern interpretations of dreams as gateways to spiritual awakening through three symbolic spaces representing the liminal journey between life and death. Maegandang's contemporary reinterpretation creates an unprecedented artistic landscape by musically recreating afterlife realms from diverse cultural traditions—Korean shamanic concepts, Greek Elysium, medieval European Cockaigne, Nordic Valhalla, and Jeju's Ieodo island. This revolutionary approach transforms traditional Korean instruments into vehicles for exploring universal themes of mortality, creating a truly global artistic language that establishes an entirely new paradigm for international traditional arts engagement. Through FACP partnership, we aim to: A. Expand International Network: Connect with presenting venues and festival programmers across Asia and globally. B. Cultural Exchange: Facilitate meaningful dialogue between Asian traditional arts communities C. Co-Production Opportunities: Develop collaborative projects with international artists and institutions D. Educational Outreach: Share Korean traditional music and philosophy through workshops and masterclasses Upcoming Shows June 2026 – New York, USA November 2026 – Seoul, Korea (Seoul Namsan Gugakdang) Contacts Yejin Yu Artistic Director (Maegandang Representative) Email: yui8878@naver.com

From December 1 to 3, 2024, the West Kowloon Cultural District (WestK) and the Federation for Asian Cultural Promotion (FACP) co-hosted the 2024 Annual FACP Conference in Hong Kong, whose theme was “Beyond Borders, Beyond Imagination — Today’s Arts Tech.,” bringing industry leaders, artists, and technologists together to explore the intersection of performing arts and cutting-edge technology. Keynote Speech & Forum Through keynote speeches and panel discussions, participants examined the transformative impact of technology on the arts. FACP Members & Hong Kong WestK Program Committee Keynote Speech 1 New Business Models and Innovation for the Arts & Culture Industry Merging technology into opera to create visual content, innovative event formats and custom-made video design systems, Mr. Paolo Gep Cucco explored how creativity drives the future of arts and culture, highlighting innovative business models shaped by globalization and digitalization. Paolo Gep Cucco, Creative Director, D-Wok As the Creative Director of D-WOK and former Creative Director of Prodea Group, he has directed major events, including the Dubai Water Canal Grand Opening and the 2011 World Archery Game Opening Ceremony. Circular See-Through LED Technology, Turandot In opera, Mr. Paolo Gep Cucco has designed entertainment and video for productions at prestigious theaters, including La Scala and Sydney Opera House. In 2023, he co-directed his first film, The Opera!, using Europe's most advanced virtual set at Prodea Led Studios. Discussion with Johannes Mueller (Director of msm-productions) and Margaret Yang ( CEO of Hong Kong Sinfonietta ) Mr. Paolo Gep Cucco shared insights on adapting to evolving audience expectations through cutting-edge design, technology, and storytelling, redefining the ecosystem of the cultural industry. During the discussion, he continued to emphasize how these tools can redefine the cultural industry ecosystem, offering new opportunities for collaboration, audience engagement, and content distribution in a digital-first world. Forum 1 Advanced ArtsTech Impacts on the Future Creations of the Performing Arts How is ArtsTech transforming the performing arts, blending the real and virtual worlds to create groundbreaking experiences? Four extraordinary speakers from diverse professional fields gathered to explore this exciting shift. Yoshitaka Hirooka: The Fusion of Tradition and Innovation Creates the Path to the Future Mr. Yoshitaka Hirooka kicked things off with his insights into merging tradition and innovation. As Managing Director of the Tokyo Symphony Orchestra , Mr. Hirooka has been at the forefront of creating performances with virtual artists. Yoshitaka Hirooka presents the AI pianists He shared his journey, from the early challenges to the creative breakthroughs that allowed him to blend live music with digital artistry, setting the stage for understanding how digital tools can reshape traditional forms of performance. Building on this theme, Ms. Hsiao-Mei Ho took us further into the world of dance, showing how the art form transcends physical and cultural boundaries. Hsiao-Mei Ho: Bridging Worlds Through Dance: From Theater to VR and Beyond As the founder of MeimageDance , Ms. Ho has embraced virtual reality as a way to amplify the power of dance, creating immersive works like Sister Lin Tou: The Lost Limbo . Her work bridges theater and technology, offering a glimpse into how VR can transport dancers and audiences into entirely new realms of creativity. Mr. Septime Webre then brought a fresh perspective on how new media can reshape ballet for the future. As Artistic Director of Hong Kong Ballet , he spoke about the exciting possibilities new technologies bring to the stage, particularly in reimagining classical ballets. Septime Webre: ArtsTech X Ballet - New Tools for a New Era He illustrated how digital tools offer deeper levels of audience engagement, allowing them to connect with performances in ways that weren’t possible before. On The Other Earth: An Immersive Museum Exhibition cooperated with Hong Kong Ballet, Jeffrey Shaw, and Wayne McGregor Finally, Mr. Jeffrey Shaw closed the session with his decades of experience in pioneering new media art. His work in immersive environments and interactive media has revolutionized theater, dance, and music. Jeffrey Shaw, Chair Professor, Academy of Visual Arts, School of Creative Arts, Hong Kong Baptist University; Director, HKBU Visualization Research Centre Drawing on his experiences with artists like William Forsythe and Saburo Teshigawara, demonstrated how interactive and immersive technologies can transform audience perceptions, creating not just performances, but living, breathing experiences. Discussion with four speakers and Martin Lopez, FACP Manila Governor & Senior Director of the Far Eastern University Center for the Arts Through their talks, it became clear: the future of the performing arts is not just digital—it’s a thrilling blend of the real and the virtual. Keynote Speech 2 Decoding the Performing Arts Market — How Big Data Changes Marketing Strategy In an era where the boundaries between technology and art are increasingly blurred, Mr. Steven Choi, Head of Tencent Cloud , Hong Kong, delivers a compelling keynote on how big data and advanced technologies are reshaping the performing arts market. Steven Choi: Bridging Art and Technology for Creativity and Productivity - Tencent Cloud Mr. Choi began by introducing Tencent’s multifaceted role in the tech industry. Known globally for platforms like WeChat, QQ, and its dominance in gaming, Tencent is also a leader in cloud solutions and digital content innovation. Its cutting-edge technologies—ranging from generative AI (GenAI) to digital humans, VR, and AR—are not only enhancing Tencent’s own business but also empowering enterprise customers in content creation and artistic endeavors. Steven Choi presents the journey of analyzing customers data Drawing on over decades experience in IT and digital transformation, Mr. Choi explained how big data is revolutionizing marketing strategies for the performing arts. By analyzing customer preferences, engagement patterns, and demographic data, arts organizations can craft highly targeted campaigns that resonate with modern audiences. Discussion with Joyce Chiou ( Chairperson of FACP, General and Artistic Director of the National Taichung Theater ) and Paul Tam ( Executive Director, Performing Arts of West Kowloon Cultural District Authority ) Forum 2 Technology and Architecture in the Performing Arts Venues How about creating venues that inspire innovation, empower artists, and connect audiences in new and meaningful ways? The second forum brought together three visionary leaders who are transforming performing arts spaces into hubs of creativity, technology, and collaboration. Carrie Lo, Chief Manager of East Kowloon Cultural Centre (EKCC) Ms. Carrie Lo opened the discussion with an inspiring look at how the East Kowloon Cultural Centre (EKCC) is blending art with technology to redefine the cultural landscape in Hong Kong. By merging artistry and innovation, EKCC is setting the stage for the next chapter in the performing arts, positioning itself as a leader in arts technology. She described EKCC as more than just a venue—it’s a playground for experimentation, where digital tools like virtual reality, interactive installations, and immersive audio-visual experiences elevate performances to new heights. Frank Yeung, Head of Theatre Planning, West Kowloon Cultural District Authority (WKCDA) Building on Carrie’s focus on innovation, Mr. Frank Yeung introduced the architectural and operational philosophies behind the West Kowloon Cultural District (WKCD) . As the Head of Theatre Planning, Frank has played a pivotal role in designing venues that cater to diverse performance styles—from intimate Cantonese opera performances to grand-scale outdoor events. Mr. Frank shared that the district’s venues are meticulously designed with artists and audiences in mind, ensuring spaces are not only visually stunning but also highly functional, highlighting WKCD’s integration of public spaces, educational initiatives, and world-class performance facilities. Cho Jung Yun, Executive Director, Cultural Affairs Busan Cultural Foundation Dr. Cho Jung Yun expanded the conversation by bringing in the Korean perspective, where performing arts venues in regional areas are leading a quiet revolution. He described how Korea has invested in building state-of-the-art venues, such as opera houses and concert halls, outside its major cities. He also highlighted the policies supporting these venues, including funding for resident companies and programs that encourage international exchange. By fostering partnerships between regional councils, cultural foundations, and artists, Korea is strengthening its local arts ecosystem while connecting to broader Asian and global networks. Discussion with three speakers and Wan-Jung Wei, Executive Director of OISTAT What made this forum truly compelling was the synergy between the speakers’ perspectives. They painted a picture of a future where performing arts venues are not just buildings but dynamic spaces that spark creativity, foster innovation, and bring people together. Hong Kong Local Art Groups The final highlight of the 2024 FACP Hong Kong Conference was an enriching series of studio visits to three of Hong Kong’s most iconic art organizations, allowing participants to experience firsthand the diverse and dynamic cultural practices unique to Hong Kong. Rehearsal piece inspired by Chinese drumbeat The first stop was the Hong Kong Dance Company (HKDC) , where they observed a rehearsal for a contemporary dance piece inspired by the rhythms and energy of the traditional Chinese drumbeat. Since its founding in 1981, HKDC has been dedicated to merging the cultural heritage of Chinese dance with modern artistic vision. FACP & HKDC This rehearsal gave a glimpse into how the company seamlessly blends these two worlds, crafting works that resonate with audiences locally and internationally. HKDC’s influence in the global arts scene is evident through its performances at renowned venues such as the Lincoln Center in New York and the Southbank Centre in London. Rehearsal: One Beat, One World: Connecting Through the Drum Next, participants visited the Hong Kong Chinese Orchestra (HKCO) , where they witnessed a rehearsal of One Beat, One World: Connecting Through the Drum  as part of the Drum Carnival. Established in 1977, the HKCO has earned international acclaim as a leader in Chinese ethnic music and a cultural ambassador of Hong Kong. FACP & HKCO Their performance transcended traditional Chinese music, blending ancient instruments with contemporary compositions to create a fusion that echoed throughout their rehearsal. The orchestra's efforts in promoting Chinese music worldwide and their innovative contributions to the arts were truly inspiring. Marble Leung, Executive Director, HKRT The final one took place at the Hong Kong Repertory Theatre (HKRT) , where participants had the chance to view a short video of their upcoming Cantonese musical: The Impossible Trial - a musical . Founded in 1977, HKRT is the city’s largest professional theatre company, renowned for its wide-ranging repertory that blends Western and Eastern theatrical traditions. FACP & HKRT The company's work is deeply rooted in Hong Kong’s cultural landscape, often exploring the city’s complex identity and human experiences through a unique lens. The video provided a sneak peek into the Cantonese performances that have made HKRT a pillar of Hong Kong’s theatre community. 2025 Bucheon Conference - See You There! City Report of 2025 FACP Bucheon Conference, presents by Bo-mi Yoon, General Manager, Bucheon Arts Center With meticulous planning and a bold vision for the future, Bucheon is ready to set the stage for an unforgettable gathering of cultural leaders and innovators. Don't hesitate! Join us, Embrace the Arts!

🎵Best Music Production/Performance Award, 2024 Clare C. & Friends Fellowship About Pipe Organ Through East and West “Pipe Organ Through East and West” is an innovative project that fuses the majestic sounds of the Western pipe organ with traditional Chinese instruments, creating a cross-cultural musical dialogue. Inspired by the idea of expanding the organ's repertoire, the project integrates instruments like the suona and erhu to highlight the universality of music and foster appreciation for both traditions. Premiered at the 3rd International Organ and Sacred Music Festival in Madrid in 2023, it captivated audiences and received further recognition with an invitation to the 71st Settimana Organistica Internazionale in Piacenza, Italy, in 2024. Featuring pieces such as Horse Racing, Spring Blossom, and Song of Heroes, the repertoire blends vibrant traditional Chinese melodies with the grandeur of the organ, presenting new auditory landscapes. With plans to expand its reach through performances, workshops, and digital broadcasts, the project aspires to deepen cultural intersections and inspire global audiences. About Artists Eric Chan, a Hong Kong native, began his musical journey at four, mastering piano and violin before graduating with distinction from the Royal College of Music in London, earning an Artist Diploma, Master of Performance, and Bachelor of Music. A celebrated organist and composer, Eric has won prestigious accolades such as the Harold Darke Memorial Prize and holds the record for the highest Artist Diploma recital score in RCM history. He has performed over 30 international recitals in iconic venues like St. Paul’s Cathedral, the Sagrada Família, and Vienna's Peterskirche, while collaborating with esteemed orchestras, including the Royal College of Music Symphony Orchestra under Sir Antonio Pappano. A versatile composer, Eric’s works, such as Spring Blossom, blend traditional Chinese instruments with the organ, earning acclaim at international festivals. Currently a lecturer at Hong Kong Baptist University and an organ instructor at Shenzhen Concert Hall, Eric continues to push cultural boundaries. In 2024, he will embark on a European tour supported by the Hong Kong Arts Development Council, with a notable performance at Italy's Settimana Organistica Internazionale Festival. Upcoming Shows Nov 2025 - International Düsseldorf Organ Festival, Germany Nov 2025 - Orgelski Festival at Koper, Slovenia May 2026 - St. Paul’s Cathedral Melbourne, Australia May 2026 - Auckland Town Hall, New Zealand July 2026 - Organove Festival Slovakia" Contact Eric CHAN Email: ericchanmusician@gmail.com

🥇 1st Prize & FACP Members Choice , 2024 Clare C. & Friends Fellowship About AI Master This project leverages real-time motion capture and AI algorithms to explore new forms of movement, integrating Unity machine learning with live body motion to reinterpret and transform the human form, offering a fresh perspective on anatomy. By combining dance and algorithmic frameworks, it delves into post-human narratives, examining imaginative possibilities and inherent limitations. A central feature is an AI embodiment, trained via machine learning, engaging in a street dance battle with a human performer, creating a dynamic interplay of human-machine interactions. The audience actively participates as judges, enhancing engagement and bridging the realms of art and technology. About Artists HSIUNG Shih-Hsiang, Director | Developing Producer Hsiung identifies himself as a wanderer and a humanoid interface. He creates pieces through various artistic forms, including dance, theater, performance, and technology. Hsiung excels at uncovering the extraordinary within the ordinary and integrating these discoveries into a distinctive creative methodology. As a guide on this artistic journey, he leads audiences into the deeper landscapes of phenomena. HUNG Yi-po, Performer | Unity Engineer Hung Yi-Po graduated from the Department of Media Communication Design at Shih Chien University, specializing in Innovative Media Design. Currently a street dancer and freelance artist, his work primarily focuses on the intersection of street dance and technological art. He excels at recognizing the frameworks and limitations of both technology and the human body. After grasping their feasibility and infeasibility, he seeks to dismantle and reconstruct these elements, facilitating a dialogue between technology and bodily expression. Upcoming Shows 2025 September: Plan to participate in Ars Electronica festival for Premiere 2026 March to May: Potential Dates for Showcase Contact HSIUNG Shih-Hsiang Email: ml82134612@gmail.com Instagram: alexhsiung807