ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier 10 Lila Downs 5
1ɩࣂ30ʗᘸcٽˮ ɺஉɻͤࢠ Running time: approximately 1 hour and 30 minutes with no interval
ࠗಋɣผਦࠑᅥᜨ Concert Hall, Hong Kong City Hall 23 - 24.2.2005
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ႇАʥˮ Credit List 7
ᅥʹ Musicians
Vocals ୧ּgࡌ Lila Downs
ࠑᅥᐢဟþ፡ೄþ Music Director / Piano / ωɻࠑᔁКဳþ௰ᓫဳ Tenor Saxophone / Clarinet ᖓgޫ࢟ Paul Cohenړ
ሉೄþɩొೄþʒᔶ֞ˢ Harp / Violin / Jarana ဍॖgҧ̿ແ Celso Duarte
ˢ Guitar ʼgͤʣဍ Marvin J Sewell
Гࠑɣొೄ Bass Booker King ټКg̠
རþᎾ Drums / Percussion ԓᖓgॖဍ˺ Yayo Serka
ɮАɁࡗ Production Team
Ҍ Front of House Engineer̎ک Λgጻࣟ Fernando Noguezڲဍ
፣ཫþͮ Video / Lighting ᇘg֔Λ Elena Pardo͠
ࠑᚊҌþԀিଉ Monitor Engineer / Road Manager ᖓ׆྇g˺ʱ̛ᖓ Roberto Caballero
ᗫཽৈ֙ᖳХᅥඅιࡗɾϾ਼ Accommodation for the artists is sponsored by
̯ຝ͌ࠑᚊኂҥͅСೄϷᖳХ The audio equipment is sponsored by
๑ː Photographs © Elena Pardo ऋᆨ Feature 11
՜୧ּgࡌ́
Ϊձနᗫgࡥʼ
ޚɯكɺဳܰΕቮϹࡐܺৈб།ɍᅕ cқֶࠍྦྷᅕɝΊᜮଠc୧ּgࡌၙ Ґრ؇Ƀᐰɻc˞ԅ༎൙ɍ ീɻؿȹכޮپɄ۹ؿර ԑc̨৽ȿᚹّc֢ܨκɁʶ֞ؿ ȿᚹଠeר
ϽᘒቮϹࡐͿΪʹc ɤֲɈ൴dӸͫႏܢ˳ؿ˚ᕀ ਐᕀd́Ϣञϋeࣂc ˥cΕذగᛰιֺؿɁ ༠ˢࠨؿʶٲɻٲɁҶሶؿ ᐰe
ήּᄨཊɬਂؿࡌ႓i҈cɁࠨᘨc҈ᆢྡྷѴશιݯ˺ۄԞϬቮϹࡐ̿ ࢠeڌၤ༦˾ɖၤଊΕτᗐؿܫఌʍcܺိၤПɺؿࠑᅥɁcඨ༠ܺိိܺ
ςؿ၀ुeྦྷԅכࣂcࠇ߬ؿܰѧͲ֦ٲ႓i҈ܰԅိҙɃؿʹe҈ ҄ᅥeڈ༠ؿੱ˥ˢࠨٲԒɺ˾ʗ҈ؿɁԞ႓cˢࠨ৽ࡖȿcࠑᅥ
ؿീɻҕᄘӸͫႏؿਐᕀhԒςcτؿܰϹऒˑႍcτؿܰቮϹࡐͿ ΪʿӰɻؿϝ࣮КႍᔁؐऋКႍeˎጱܰᘒᘣࣟᙬᙘᄧೋࡼc̴ጱܰ ఖҒϬӸӸͫؿ෮ຮe͉עͿΪϝ࣮Кʹeိ϶ඨcԚҡ cȹ܃Ε߇הcɌҐඣቡҢιᘕɥcרԞcɐ̎ܰޮቮϹࡐͿΪඨٶ ۄ̿כԑcቱဳࡌ́מؿʝїܰාϳၝeಳϤc߬ఖΑϬɯؿ࣓ɖɺܰȹᅝ ᘣ༠ήұነcʭɤࣂˤܰၤˎጱΕԅ㛾۹༦ؿe̛עΕਝڳήc˺
ቡcԎু፭ټ౦ȹ۹িᑷϬɯؿ϶Ӹͫcඣቡܷι܃Ɋʒัࣂˎጱ˖cɾ ΣಯeΣʌcࠇณኟ܈࢟ؿϋّᅥඅcਇɒˠഷ৵ሒࠖཚc˥̴ጱʶ ᘣ༠ήؿቮϹࡐͿΪඨАࡼ൰cϤԭΔ̛עϬɯؿ϶ඨcҐג ʿɖᅥ෮Ґι̯ΔɁe
౨cؿࠑᅥࠓࣟٶΨቮϹࡐͿΪඨeܓΕξ౨ؿਿፎɻcᘨϬɯτຮ৻ ȹࣟcՇԷ།АؿଠΛᏲɡᅥʹᄧᚊ ˢࠨɰΕؿࠑᅥɻजɎͿדᛰɺ তe ऋᆨ Feature 13
ωΕࠗಋᖚຝɻᘆؿςcɣͫԞϬณઐˮؿːȹ϶eЂۗܰ τቮϹࡐþʱּΖɩొೄʹሉೄʹॖဍgҧ̿ແhౣСþ̀ʱརʹԓᖓgॖဍّ cτࣵΔˑൕذcˢܰඨթֲɁټhԞϬख़ؿ൰ɠᏲɡᅥГࠑɣొೄʹ̠Кg˺ ࡐؿᔂሁᅥʼgͤʣဍhᑹτԞϬณዉϹήؿᔁКဳۗࡼ˱߇ౡhԞϬ٠˱ ᖓgޫ࢟cˢܰࡌؿɏʩАᏌc౦༦ɩɸࡗeړ
ࡌֺՇؿ̳ᐰᅥফᆻcȹΣԅ˥ɁᗒѿؿੜईੱcӮᇽΕΈࠑᅥผɻؿˮ ΕΕΔݠΕɎcԎҐࣂԳᛰྡྷྡྷڌޚଊeΕ҈ࠨ̯ΔɁؿɁ́ࡑነɻc҈ࠨٲϳ ༠ؿeٲ˾ཹ҈ܰڏԅcڦί՜ɻᗸൔؿ
ดeΕɐ˖ȾɊαˤ̱cҕαႦɁݯȿ൬ɃਝϤ൞ɬࣹ۾ؿς cϋΕ፮࢈ؿ༏பɐeࡌȿԒαႦɁؿˎ̴ˢࠨؿభඬcɖȿˢࠨˋ ۾ɺ֗c۾ᅚϋ˾ؿe҈༜ࣩΡc˿˞൙༦ቮϹࡐᖾྊeЎ܉ɥܰۦ༞Ϭɯؿك ऋࣦؿϽສeΐڈȹכΛϝ࣮КɁɺॶཫ҈ᅚԞԞ˾˾e҈ೕଊϬɯ୮ ϊc҈ཹ˨ͫС͂ᒨcཹ˾ᘷcཹཫȹᓺᘭࡼԅᅚcသ˿ॶҐɺؿ ᐰࠑඨ༠ˮԞcҐܨԑᑟˮԞe
ӵஔ܃ιܰໃޜΈိ՞τᜮ֨cҐቮϹࡐɁכیؒޜᘨȹঁਝɁྦྷቮϹࡐɁؿ ؿʿؒeވ˖ޜؿcϤɺ˾ᄗ഼ˢࠨዃؿԞ᎘˾ॵdˢࠨᔔఒؿ၀ु́ݠˢࠨᜮ
ԑe҈ႏݯܨ༞ؿكԑcΐݯܰȹԒɁࠨɺᗙܨؿڷభڈดڈࠇޜ༖҈ ࠇ߬cɖܰቮϹࡐʼʝؿȹͫeྦྷϋəؿฑdྦྷ́՜ؿ۾഼ᒨ̳ ȹိ̡ܛฑcܰ҈ࠨˀ́ݠؿȹͫe҈ɺᜑ̚ЭӀ҈c҈ᐢܰཹΈ՜ɻၐ eذ̳ࠍؿԑڈԷ̳Εˮଊؿޜጫc҈ɖ
ݘכүೕࢄeଊΕc፼፼ޮૄ܃ቮϹࡐৈఢcಳכࡌؿᖚ́cն ܨᅩݘe2002αؿཋᄧ೫ࡱПᛞԚᐰΊᚘcཋᄧͅଡ଼နgѴඏ˚cᑟ߸ɰ ԑeཋᄧైςBurn it BlueᏵొΊᘏෙܨᖚࡼɤֲ˚ຮ৫ཫ١ई༠g˺ያؿ ཫᆉཕᆉᓤɐؿᘆټ˺cঢ়ȹςʷeΕෙޚڋcࡌҡΕཋᄧɻᅗ˺ eٻcᓳᅨɍˀcသଊࠓ
ܨᜮଠ˿˞ȿɻڏ˞ʌωܰࡌࠖωಋeੀΕၦ̎ɐ႓ᘆؿςc รτመcԝΣᓺԈթg̿ڳΛςؿ˚ᕀรᗲആcЎܰ̊ȹԒ۾ԑeᒖಳ ࠷ؿLa Bambaȹςe
ؿԅٖɈ൴ᘆe҈ࠨॶਪልʀ҈܃Εȹ϶ਜ਼ːɻc҈ݯɤֲɈ൴߇ ࠨɥࡾɻؿྡྷ˞́՜c̯ӸగܰɁֲeܰட҈ࠨؿϹeᅚc҈ɖ߬ ༠҈ࠨɾංќؿଔeٲ௩ෲؿȹԒςcԞڈ༦҈ȹ́ɻ 14 ऋᆨ Feature
A Clear Identity from a Mix of Cultures
Annemarie Evans
Whether it’s in a Mexican bar with a few of her friends or to an audience of thousands, Lila Downs pours her soul into her songs, captivating listeners, sweeping them away with a voice that spans three octaves and with stories of the individuals that populate her lyrics.
The Indian Mexican/American sings of the strength of women, the issue of identity, death and the cycle of life and as she sings she takes on the characters of those people to get their message across in a mesmerizing performance.
“I guess what people are sensing is that I truly hope to be a kind of conduit, one other musical being that is delivering a message that has something to do with the past and the present as well,” said Downs, from the Sierra Madre Mountains of her native Mexican state of Oaxaca.
“I kind of lose myself. When I perform it’s very important to me to be completely honest with the spirit of the song. For some people who don’t analyse me they’re swept away by their feelings and are crying and are very happy about what they’re feeling from the music.” ऋᆨ Feature 15
The issue of identity pervades her lyrics, sung in Spanish and the Mexican Indian languages of Mixtec and Zapotec. The daughter of a Scottish-American cinematographer and painter, and a Mixtec-Indian singer, Downs knows all about finding where you belong from her mixed heritage.
These days she appears on stage in traditional Mexican Indian dress, her black hair in braids down her back with red lipstick her only makeup. But it took her a while to come to terms with where she belonged having been born in Oaxaca, but had her formative years and education in Minnesota with her father.
After her father’s death when she was 16, she eschewed her mixed roots, dying her hair blond, following the Grateful Dead, popping pills and selling jewellery on the streets and horrifying her mother. Now she embraces her mixed heritage, sees both Minnesota and her Mexican Indian heritage as home and is welcomed as a native in either.
In her earlier albums she felt a sense of obligation to her Mexican Indian roots. These days her music style is far more eclectic, having been influenced by the variety of jazz musicians who work with her and have put their imprint on her sound.
Her most recent album is Una Sangre – One Blood, from which she will be singing most of the songs at her Hong Kong Arts Festival performances. Accompanying Downs will be Celso Duarte, a Mexican/Paraguayan violinist and harp player; Chilean/Cuban drummer Yayo Serka; legendary funk bass player Booker King from New York, whose background is Haitian and Jamaican; Marvin Sewell, a Blues man from Chicago and saxophonist Paul Cohen from New Jersey, who used to work as a clown, and is her husband and creative partner.
Downs’ vocal training shows through in her concerts, as does a remarkable emotional intensity. “In our native philosophy people believe in really living in the moment and in making that moment the most precious of your life, and that’s what I’m trying to portray.”
Her songs are often dark. In the late 1990s she sung of the young men who died making the journey across treacherous terrain in a bid to enter the US. Downs knew their parents and their grief and the need to find out how their boys had died. “I’ve been very privileged to cross this border. Unfortunately many of the Mixtec people are not able to go back and forth the way that I am. So it’s a very particular place that I’m found in. So I’ve tried to make the most of it and tried to explain, tried to become like a translator of different voices as much as I can to narrate the story.” ऋᆨ Feature 17
In the US, she feels, the general perception of Mexicans is based on stereotypes that see their southern neighbours as backward and very poor, instead of looking at the history of their stories, the richness of their spirituality and the way in which they look at the world.
“I tend to look at stories that are very dark and very sad because these are the stories that no one wishes to look at. I think it’s important to look at that side and I think it’s part of Mexican culture to look at that side as well. The veneration of death, the veneration of the cycle of life is part of our daily life. I don’t let it take me down, I try always keep a balance in my life and also look to the very positive things that are coming.”
Downs began singing in Mexican bars, then her career grew and she is now in demand across America and Europe. Her fame increased in 2002 as a result of the movie Frida, starring Salma Hayek, about late artist and feminist icon Frida Kahlo. The singer briefly appears singing a tango and sang at the Academy Awards after the song Burn it Blue was nominated for an Oscar.
It’s Downs’ first trip to Hong Kong. She’ll be giving a translation for her songs from the stage, so that the audience can follow her stories. While many of her songs have serious topics, there’s also fun aspects such as a cover version of La Bamba made famous by Ritchie Valens.
“Una Sangre is an album that I dedicate to the force behind the strength that women have. The fact that we’re able to give the fruits of our womb a life, which is humanity. It’s one thing that we have that unites us. Also I need to express our differences that are very beautiful. Expressed through some of the songs that I’ve loved very much through my life.” 22 ̡́ʍଽ Biographies
୧ּgࡌ
ࢄଊּȻʼʝܰ୧ּgࡌȹ́ውੱҙ ӸؿԑพeϽᘒቮϹࡐʹС ϬɯА৽ɈֺদؿϹcܰͳᖫ͂ e⬰̳βؿᐰᅥফᆻၤรʗڈϤ Ϥ؟ؿੱɈ۹cԯˮϳؿࠑਟcᄤဲ Λᅚؿೡ۹cȹΣၤАؿɺࠑᅥ ࡼe
ਝcཋᄧࠑᅥכּȻʼʝੇ ιݯɺᒾᒷࢄؿͲଈʝઠөɾ˚ኒc ࡌ˞ԯҕੱඪΉޯˮֺᙔؿඨ e႓iቮϹࡐʼʝΕਝ˿˞႓ ɺӮؿcΐݯቮϹࡐɁΕਝܰޜܰ ɮɁආज़Ɏ೩ɮɁආज़e҈ࠨɺ ᗙ഼̳ᒨcΐݯྦྷ҈ࠨቮϹࡐɁԞ ႓cܰߕؿhΣБɺܰቮϹࡐ ɁcБ֡֡ɺผ؇഼̚eΐϊcଊΕ ཋᄧࠑᅥɻˮଊቮϹࡐʼʝనጙכ ֺ̰τک௩ؿeɣࡼྦྷ҈ࠨͿΪؿ࣓˱૯ȿcܰؿߛcܰ˥Ɂ ؿe
ή˺ۄᘣ༠ήˮ́ؿቮϹࡐ̛̿עؿٽcࡌሰ֡ख़̟cܰȹၤιٶ éݠΕԒɺؿྊɻcɄัగүԯ̴ጱၦ̎ވ˖ּᄨཊɬਂଔؿ ྈcቮϹࡐ̵eؿ́ɺᒾ൬cʭɤࣂˤΕݤҪᐈነୌᐰ܃ɾ́ ᘣ༠ή͓ɣነcᏵᐰᅥɁᗘነ̛עכଓพ܃ᖚነc̟˺ۄϣɃ̿܃ᅥcಳ ࣂcೕᒉੱϬɯȹ́دᔶነϽeࡌΕু፭࢟ؿϋّᅥඅcնϬɯؿ༝ ᆅෲؿ̵ඨeޮ൰༦ᔪؿݚ࣯பɻcቌϬႇˮਕࠖཚᑨՅᆚɭeق
ᗲܫ༠ౝ༧ֲؿੱeٲࡌɣؿʨልcܰॶਪ˞ҕ૯ԳɁʝؿςcԞ ผɁɡمผਐᕀcɌɺѿֲПਐᕀeࡌֻኪАݯȹϽԮᄧᚊɈؿم؝ܧആʍɃ ɍਜ਼ːᔁٱɁࣟcЎӀτ഼֧ԔՇ́ݠeقؿஐͨcኟτˇສဘؿ̳ ผɁӯ۹c഼ɤֲᚬСؿਐᕀeم́՜ኹͲވ࢟ҧ˱ၦdᖾ ඨؿ֝ᙩcɖܰΛᅚʝؿЦɈcοΕၙΈܰܫؿณਿፎȹ϶ ࠓࣟᐰࠑcႇАȹਜ਼ᔔఒ৽Ɂd࠹νԎၫؿːeိ
ผിሃʿࠍcࡌؿࠑᅥᑹᘃ㠥ȹိᛷടؿ၀ुऋሔe̚ɺܰঢ়ঢ়ΕɐؿुمΕ ቮϹࡐםeྦྷ୧ּgࡌԞ႓cʌڝ෮ᖫʥԯၤዃ̌ؿᗐਂمଉ֨cϤܰੜईؿັ ѤѤɺࠞߎɈ།˖ɁʗԔȹʼʝeڬяτୣɣઠऩcϤ̯Ɂވ˖ʼʝྦྷ ̡́ʍଽ Biographies 23
Lila Downs Vocals
For Lila Downs, expressing Latin culture has been a lifelong passion. The Mexican- American singer uses her creative impulses to explore what brings us together rather than what divides us. Combining formal vocal training with an extreme emotional intensity, her remarkable voice is as varied in range as the musicians with whom she performs.
Accompanying the surge in Latin culture in America, with film and music leading the way in our expanding global education, Downs’ lyrical penchant highlights her heritage. “Mexican culture in the US is kind of invisible, because it’s the working and sub-working class in this country,” she says. “It’s a side we all don’t want to look at because it’s painful – for us being Mexican, and when you’re not Mexican, you often don’t notice it. That is what’s so beautiful about having a renaissance of Mexico through certain films and music; people are learning more about our Indian roots, which wasn’t happening before.”
With her recent move to New York, Downs is a world away from her dual upbringing in Minnesota and the Sierra Madre Mountains of Oaxaca. Living in such varied environments, she took after her mother’s stage career by singing mariachi tunes at age eight. Her career continued to evolve, studying voice as a teenager in Los Angeles and then in Oaxaca City at Bellas Artes, before graduating with a double degree in voice and anthropology from the University of Minnesota. Her constant love for folk traditions was enhanced when she began her own nomadic travels following the Grateful Dead, making and selling jewellery to afford to roam from town to town.
Downs’ greatest creative asset is her ability to touch the universal by singing about the deeply personal. Engaging in the serious side of politics and social issues she is equally focused on the topic of gender. Downs has taken on the responsibility of being a powerful social figure with undeniable integrity, but she doesn’t forget to have fun. Her first three releases – La Sandunga, Border (La Linea), and Tree of Life (Yutu Tata) – all tackle the subject of the empowerment of females, from both a social as well as individual perspective. Her latest release, Una Sangre – One Blood, continues this tradition and is her most diverse effort to date drawing on a host of styles and sounds to produce a rich, appealing and eclectic album.
Within all of this social commentary, an eminent spiritual quality pervades Downs’ music. It’s not some lofty ideal of divinity, but rather a strong sense of community and its relationship with history. To Lila Downs, both ancient and modern Mexican culture has much to teach the world, and she fully engages in sharing that information. ̡́ʍଽ Biographies 25
ᖓgޫ࢟ړ ࠑᅥᐢဟþ፡ೄþωɻࠑᔁКဳþ௰ᓫဳ
Ѓါᄨነ࠳ᚾʶۄณዉϹήcΕכᖓgޫ࢟́ړ ࣟྟg̠ቧɩɸነՇ׳Ε܃ଉነcಳ ফcնԯᔵࡗᎻ྆ɩɸؿ́eˢ˱ ਝᄧཫɾʂᎻ྆౨ංcնነкᔁКဳhؒ ٶઅ㠥ሰֈቮϹࡐcᘗᙩϬነࠑᅥcነᄦ፡ೄc ᑹነк௰ᓫဳeˢ˞ᇁςᅥӸͫcၤ፣ႇ୧ ౦፣ႇΊݯณɩڬgࡌؿֺτːeˢϬɯ ּ ؿːcν፣ˢϬɯАςؿΛࠖωɻࠑᔁКဳྒ ᅥςe
Paul Cohen Music Director / Piano / Tenor Saxophone / Clarinet
Paul Cohen, a New Jersey native, studied psychology and fine arts at Haverford College before attending the Ringling Bros Clown College and embarking on a career as a juggler and circus clown.
He began playing the saxophone while performing in a French circus, Les Puits aux Images, and migrated to Mexico to continue his self-taught musical studies on piano, and more recently, the clarinet. He has participated in all of Lila Downs’ recordings as arranger and musician, and has also recorded a CD of many of his own compositions on tenor saxophone entitled New Minor Dream. ̡́ʍଽ Biographies 27
ဍॖgҧ̿ແ ሉೄþɩొೄþʒᔶ֞ˢ
ടΊؿʱּވ˖ ξగ།ˎጱ۾ဍॖgҧ̿ແ Ζሉೄʹဍॖgҧ̿ແgᔁཊነୌሉೄּȻ ݘࠑᅥe1985αˢɊัࣂcࠖω፭ҧ̿ແࡼપА ԀcɊɀั̟ےԞcˢ֡ˀ̯Έɣ܃Ԁeވ˖ ٲగ፣ႇࠖਜ਼ːeˢΕʱּΖ፭ҧ̿ແࡼપ gСऑСʼʝɻʶቮ׳ቮϹࡐcΕෙٵcࠇ܃ ਝࡼࠑᅥነ࣎ነୌɩొೄeˢ˱ɃΪढ़ѼےϹࡐ ോᅥ྆cԎ֡ਝΈɣነԀhΕ༏ᄨነᙠ፣ ݘΈΔe1998αcˢΕڲʄαcԯӷ༌༧ʥᅩݘd˵ݘdɻݘ܃ːc֡ ፭୧ּgࡌԀcۗሉೄdɩొೄdˢʒᔶ֞܃ԕᐾፒࠖωዟۗผcಳ ˢcԎݯؿːЂۗeˢɖݯཋᄧཋ഼፣ႇࠑᅥe
ؿႏᖫcΕሉೄؿࠓࣟҌʿࠍτร؟ҧ̿ແྦྷଠΛּȻݘᅥኂᎾᅥኂτᄤ ঢ়ؿeˢ˱ࡐ࠷ˈԓdկʑּቮϹࡐ೩Δᐾፒؿਝሉೄຝe
Celso Duarte Harp / Violin / Jarana
Celso Duarte began studying harp and Latin American music at an early age with his father, the world-renown Paraguayan harpist Celso Duarte Gonzalez. In 1985 he began his first international tour with the Duarte Family at age 10. Later, he toured Japan’s major cities, recording his first album at the age of 12. After performing with the Duarte Family in Paraguay, he returned to Mexico and studied violin at the Ollin Yolliztli Cultural Center and the National School of Music in Mexico City. He joined the ensemble Imagen Andina and began touring US universities; recorded an album at Luther College, and for the next five years toured throughout Europe, North, Central and South America. In 1998 Celso performed his first solo recital in Tokyo and joined Lila Downs on tour, playing harp, violin, guitar and jarana, as well as recording on her albums. He has also recorded music for films and television.
Celso Duarte has a comprehensive knowledge of many Latin American and percussion instruments, as well as an extensive knowledge of harp styles and techniques. Duarte is now a regular performer at the international harp festivals of Colombia, Venezuela and Mexico. ̡́ʍଽ Biographies 29
ʼgͤʣဍ ˢ
ࡐc།Δଠ˱٠כʼgͤʣဍ́ ΛΔɎ۩ᅥඅᄣcነผᄦˢe ผነمɐɻነࣂcˢ፭ဍѐX ࡐଠΛടΊ˱cԎၤ٠ٲɣᅥඅ ࡐᖓါɣ˱ࠑᅥࡼАeˢΕ٠ ነነୌАςc1992αΕख़ၤ К gᄨ̛ऋؿऋፎᅥඅˮc ٲˢࠖω˱ࠇ߬Ᏺɡᅥඅؿܰ eɣȹࣂ౨cˢၤᏲɡᅥɣొೄʹᎼᄨͶg᎖ԈᏲɡᅥГࠑొೄʹ̥ཊᄨg ݘೋཫɻڈ೩Ɂ̎ˮh1993αcˢΕ̛ʱဍg֤Аςؿჱټ፳ౝ ኪͨᔂሁไۗˢʹe
ιݯ܃1995αؿʒαංcͤʣဍ፭˺ࣚᄨּgۤဍႫ̎cۗΈိ֞ᅥኂc gᄨ̥ᙬޫ፭gԓෑԀeΣʌc̛ͤځؿࠑᅥᐢဟe2001αࡧʨcˢၤ cଊ̳ٲʣဍɣͫࣂංݯˢϬɯؿʼgͤʣဍᅥඅАςeˢ౦Εख़̟ΈΔ ๅௐ˞ɁΊຮઐˮːe
Marvin J Sewell Guitar
Marvin Sewell was born and raised in Chicago. He learned to play the guitar by hanging out with many Chicago basement bands. In high school, he started playing with the Malcolm X Community College Big Band as wall as playing with many famous Chicago musicians. At Roosevelt University, Chicago, he studied composition, and in 1992 Sewell made his first major jazz band debut in New York with Jack DeJohnette’s Special Edition. Around the same time he was playing with jazz cellist Deidre Murray and Jazz bassist Fred Hopkins, and in 1993 he played blues slide guitar in Hannibal Peterson’s opera African Portraits.
For six years from 1995 Sewell played a variety of stringed instruments with Cassandra Wilson, eventually becoming her music director. In summer 2001 he went on tour with Sekou Sundiata along with Ani Difranco. Today, Sewell spends most of his time writing music for his own band, The Marvin Sewell Group. He has performed all over New York and is preparing his debut recording under his own name. ̡́ʍଽ Biographies 31
ټКg̠ Гࠑɣొೄ gѐྟگነcԎΕᎏےʄכख़̟cଓพכ́ټКg̠ ኒɎነୌࠛГࠑɣొܞʇپӢdଉ݅ᄨgᎼၐ፳᎖g gϹӴԈdΪСКgਥᄨނೄeᑼˢ፣ႇːؿࠑᅥɁτ dࣚෑढ़ᄨඟКऋɣᅥඅ׳dௗСdࣟᙬऋgࣟ ೩eˢۗཋɥГࠑˢГࠑɣొೄe Booker King Bass A native of New York, Booker King graduated from Five Towns College and studied double bass under Bob Cunningham, Richard Davis and Homer Mensch. He has recorded with Jane Siberry, Angelique Kidjo, Kelis, Grant Green Jr, Santana, and the Defunkt Big Band among other artists. King plays electric and upright bass.
ԓᖓgॖဍ˺ རþᎾ
ΕȹԒΪɬਂඨٱౣСˌΔࢌcכ́˺ԓᖓgॖဍ ܃ංᅥඅɻᎾᅥʹΕɺؿᏲɡᅥඅɻརʹc̵ ౣСʨ˚ઠɣነ࠳ᚾ̀ࠑᅥc1990α߳̀ʱ൬࠳ࠑᅥכ ̀ʱඣɁࠑވαeΕࡧᜪࢬ౨ංcˢ౦τ֗ၤᏲɡᅥ̒ eٲؿടΊᖚࡼ̎ވᅥ c߳ख़ցֈcዟ͓རʹၐ́cཹɺؿࠓࣟeˢ౦ၤᏲɡ܃ΑౣСԭαٵˢ ᅥᔁКဳۗࡼʱˈgജऋႫdᔂሁʹ̥ᙬਥgݢСdթޫෙؒԈဍᅥ྆dӂ ʹ̎ˮeۄผऒΛϽᘾϯʹʥჹڌཽ֨ࣴ Yayo Serka Drums / Percussion Born in Tierra del Fuego, Chile, Yayo began playing percussion for traditional Andean folk groups and drums for different jazz bands. He studied classical music at the Catholic University of Chile and in 1990 he went to Cuba where he attended music school for four years. During that time in Havana, he had the opportunity to work with renowned artists from the jazz and Afro-Cuban music scene. After returning to Chile for two years, Serka settled in New York and has worked as an independent drummer in the downtown music scene, working in a variety of styles. He has performed with jazz saxophonist Bobby Watson; blues singer, Frankie Paris; the Chico O’Farrill Orchestra; the gospel choir of the Walker Memorial Baptist Church and various rap and hip-hop artists, among others. ˰ɻᘭiඡᏬಳ ᖳХིٞ߮Patron’s Club ผࡗ Gold Membersټ ผࡗ Platinum Membersټ͉ ಲΊˊ Anonymous ᚋ༅ႺϷ Coutts Bank ผ C C Wu Cultural & Education ષᛷСጙพτࠉʔ̇ Henry G Leong Estates Ltdټඑιʼʝઠөਥ͢ Foundation Fund তඡࡣτࠉʔ̇ Hutchison Whampoa Ltd 㟱එ྆ E2-Capital Group ֱඑ྆ Jardines Matheson Ltdټ ෙᄤй Ogilvy & Mather Asia Pacific ཽԈઁٖτࠉʔ̇ Kerry Holdings Ltd ଓۤผ߮ԑ৻ֺ KPMG Ⴚผࡗ Silver Members Ⱦᄤᚁ༏ʔ̇ Kowloon-Canton Ⴛผࡗ Bronze Members RailwayCorporation ఒᄨͬพτࠉʔ̇ Fontana Enterprises Ltd ɐࣵਆพႺϷ Shanghai Commercial Bank Ltd ෬சࠗಋτࠉʔ̇ Microsoft Hong Kong Ltd The Swire Group Charitable Trust ټপਥڌʪ̀එ྆෯ഁ ነི́߮ࢶХɁ Student Ticket Scheme Donors ᆉ Platinum Award The Helena May The Helena Mayټ͉ ಲΊˊ Anonymous ߈͓́ͱ́ Mr Maurice Hoo ผ C C Wu Cultural & Education Ms Caroline Hu Ms Caroline Huټඑιʼʝઠөਥ͢ Foundation Fund Ms Hu Shu 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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