Hong Kong Annual Arts Survey 2007/08 Hong Kong Annual Arts Survey Hong Kong Annual Arts Survey 2007/08

y Surve Kong g Kong l Arts nnua Hon A 2007/08

Edition: First Edition, May 2010 Compiled by: Planning and Development Department, Hong Kong Arts Development Council Published by: Hong Kong Arts Development Council Design and Printing: AOMM Creative Limited

Hong Kong Arts Development Council 14/F, East Warwick House, Taikoo Place, 979 King’s Road, Hong Kong Tel: 2827 8786 Fax: 2519 9301 Website: www.hkadc.org.hk

This report can be downloaded from the official website of the Hong Kong Arts Development Council. Table of Contents

9 Foreword 11 Introduction

14 Performing Arts 17 Overview

25 Part One Distribution of Attendance and Performances

27 1. Annual Attendance and Performance Numbers at the Performing Arts Venues 27 Figure 1.1 Distribution of Attendance by Art Form 28 Figure 1.2 Number of Attendance by Art Form by Venue (Top Ten Venues) 30 Figure 1.3 Number of Dance Attendance at the Top Five Venues 31 Figure 1.4 Number of Theatre Attendance at the Top Five Venues 32 Figure 1.5 Number of Music Attendance at the Top Five Venues 33 Figure 1.6 Number of Xiqu Attendance at the Top Five Venues 34 Figure 1.7 Number of Performances at the Top Ten Venues 35 Figure 1.8 Number of Performances by Art Form at the Top Ten Venues

37 Part Two Performing Organizations, Productions and Performances in Different Art Forms

39 2. Number of Presentation/Production Units 39 Figure 2.1 Distribution of Presentation/production Units by Art Form 40 Figure 2.2 Distribution of Presentation/production Units (Arts Organizations) by Art Form 41 Figure 2.3 Number of Productions and Performances Presented/produced by Arts Organizations by Art Form

3 43 3. Number of Productions and Performances by Art Form 43 Figure 3.1 Distribution of Productions by Art Form 44 Figure 3.2 Distribution of Performances by Art Form 45 Figure 3.3 Distribution of Productions by Local/non-local Nature 46 Figure 3.4 Number of Productions by Local/non-local Nature by Art Form 47 Figure 3.5 Distribution of Performances by Local/non-local Nature 48 Figure 3.6 Number of Performances by Local/non-local Nature by Art Form 49 Figure 3.7 Number of Productions by Month by Art Form 51 Figure 3.8 Number of Performances by Month by Art Form 53 Figure 3.9 Distribution of Performances by Admission Nature 54 Figure 3.10 Number of Performances by Admission Nature by Art Form 55 Figure 3.11 Distribution of Performances by Top Price Ticket 56 Figure 3.12 Number of Performances by Top Price Ticket by Art Form 58 Figure 3.13 Average Top Price Ticket by Art Form 59 Figure 3.14 Distribution of Productions by Source of Funding 61 Figure 3.15 Number of Productions by Source of Funding in Each Art Form 62 Figure 3.16 Distribution of Performances by Source of Funding 63 Figure 3.17 Number of Performances by Source of Funding by Art Form 65 Figure 3.18 Distribution of Productions Presented/produced by Educational Institutions by Source of Funding 66 Figure 3.19 Number of Productions Presented/produced by Educational Institutions by Source of Funding by Art Form 67 Figure 3.20 Distribution of Performances Presented/produced by Educational Institutions by Source of Funding 68 Figure 3.21 Number of Performances Presented/produced by Educational Institutions by Source of Funding by Art Form

69 4. Number of Productions and Performances in Each Art Form 69 4.1 Dance 69 Figure 4.1.1 Distribution of Dance Productions 70 Figure 4.1.2 Distribution of Dance Performances 71 Figure 4.1.3 Distribution of Dance Productions by Local/non-local Nature 72 Figure 4.1.4 Number of Dance Productions by Local/non-local Nature 73 Figure 4.1.5 Distribution of Dance Performances by Local/non-local Nature 74 Figure 4.1.6 Number of Dance Performances by Local/non-local Nature 76 Figure 4.1.7 Number of Dance Productions by Month 78 Figure 4.1.8 Number of Dance Performances by Month

4 Hong Kong Annual Arts Survey 2007/08 81 Figure 4.1.9 Distribution of Dance Performances by Admission Nature 82 Figure 4.1.10 Number of Dance Performances by Admission Nature 83 Figure 4.1.11 Distribution of Dance Performances by Top Price Ticket 84 Figure 4.1.12 Number of Dance Performances by Top Price Ticket 86 Figure 4.1.13 Average Top Price Ticket in Dance Categories 87 Figure 4.1.14 Distribution of Dance Productions by Source of Funding 88 Figure 4.1.15 Number of Dance Productions by Source of Funding 90 Figure 4.1.16 Distribution of Dance Performances by Source of Funding 91 Figure 4.1.17 Number of Dance Performances by Source of Funding

93 4.2 Theatre 93 Figure 4.2.1 Distribution of Theatre Productions 94 Figure 4.2.2 Distribution of Theatre Performances 95 Figure 4.2.3 Distribution of Theatre Productions by Local/non-local Nature 96 Figure 4.2.4 Distribution of Theatre Productions by Local/non-local Nature 97 Figure 4.2.5 Distribution of Theatre Performances by Local/non-local Nature 98 Figure 4.2.6 Number of Theatre Performances by Local/non-local Nature 100 Figure 4.2.7 Number of Theatre Productions by Month 102 Figure 4.2.8 Number of Theatre Performances by Month 105 Figure 4.2.9 Distribution of Theatre Performances by Admission Nature 106 Figure 4.2.10 Number of Theatre Performances by Admission Nature 107 Figure 4.2.11 Distribution of Theatre Performances by Top Price Ticket 108 Figure 4.2.12 Number of Theatre Performances by Top Price Ticket 110 Figure 4.2.13 Average Top Price Ticket in Theatre Categories 111 Figure 4.2.14 Distribution of Theatre Productions by Source of Funding 112 Figure 4.2.15 Number of Theatre Productions by Source of Funding 114 Figure 4.2.16 Distribution of Theatre Performances by Source of Funding 115 Figure 4.2.17 Number of Theatre Performances by Source of Funding

117 4.3 Music 117 Figure 4.3.1 Distribution of Music Productions 118 Figure 4.3.2 Distribution of Music Performances 119 Figure 4.3.3 Distribution of Music Productions by Local/non-local Nature 120 Figure 4.3.4 Distribution of Music Performances by Local/non-local Nature 121 Figure 4.3.5 Distribution of Music Performances by Local/non-local Nature 122 Figure 4.3.6 Number of Music Performances by Local/non-local Nature

5 124 Figure 4.3.7 Number of Music Productions by Month 126 Figure 4.3.8 Number of Music Performances by Month 128 Figure 4.3.9 Distribution of Music Performances by Admission Nature 129 Figure 4.3.10 Number of Music Performances by Admission Nature 130 Figure 4.3.11 Distribution of Music Performances by Top Price Ticket 131 Figure 4.3.12 Number of Music Performances by Top Price Ticket 133 Figure 4.3.13 Average Top Price Ticket in Music Categories 134 Figure 4.3.14 Distribution of Music Productions by Source of Funding 135 Figure 4.3.15 Number of Music Productions by Source of Funding 137 Figure 4.3.16 Distribution of Music Performances by Source of Funding 138 Figure 4.3.17 Number of Music Performances by Source of Funding 139 Figure 4.3.18 Distribution of Music Productions Presented/produced by Educational Institutions by Source of Funding 140 Figure 4.3.19 Number of Music Productions Presented/produced by Educational Institutions by Source of Funding 141 Figure 4.3.20 Distribution of Music Performances Presented/produced by Educational Institutions by Source of Funding 142 Figure 4.3.21 Number of Music Performances Presented/produced by Educational Institutions by Source of Funding

143 4.4 Xiqu 143 Figure 4.4.1 Distribution of Xiqu Productions 144 Figure 4.4.2 Distribution of Xiqu Performances 145 Figure 4.4.3 Distribution of Xiqu Productions by Local/non-local Nature 146 Figure 4.4.4 Distribution of Xiqu Productions by Local/non-local Nature 147 Figure 4.4.5 Distribution of Xiqu Performances by Local/non-local Nature 148 Figure 4.4.6 Number of Xiqu Performances by Local/non-local Nature 149 Figure 4.4.7 Number of Xiqu Productions by Month 151 Figure 4.4.8 Number of Xiqu Performances by Month 153 Figure 4.4.9 Distribution of Xiqu Performances by Admission Nature 154 Figure 4.4.10 Number of Xiqu Performances by Admission Nature 155 Figure 4.4.11 Distribution of Xiqu Performances by Top Price Ticket 156 Figure 4.4.12 Number of Xiqu Performances by Top Price Ticket 158 Figure 4.4.13 Average Top Price Ticket in Xiqu Categories 159 Figure 4.4.14 Distribution of Xiqu Productions by Source of Funding 160 Figure 4.4.15 Number of Xiqu Productions by Source of Funding 162 Figure 4.4.16 Distribution of Xiqu Performances by Source of Funding 163 Figure 4.4.17 Number of Xiqu Performances by Source of Funding

6 Hong Kong Annual Arts Survey 2007/08 164 Visual Arts 167 Overview

171 5. Annual Numbers of Exhibitions and Cumulative Exhibition Days 171 Figure 5.1 Distribution of Exhibitions by Type 172 Figure 5.2 Cumulative Exhibition Days by Type 173 Figure 5.3 Number of Exhibitions by Medium 174 Figure 5.4 Cumulative Exhibition Days by Medium 175 Figure 5.5 Distribution of Exhibitions by District 176 Figure 5.6 Cumulative Exhibition Days by District 177 Figure 5.7 Number of Exhibitions by Site 178 Figure 5.8 Cumulative Exhibition Days by Site 179 Figure 5.9 Number of Exhibitions by Site Operator 180 Figure 5.10 Cumulative Exhibition Days by Site Operator 181 Figure 5.11 Number of Sites by Nature of Site Operator 182 Figure 5.12 Number of Exhibitions by Nature of Organized/Curatorial Unit 183 Figure 5.13 Cumulative Exhibition Days by Nature of Organized/Curatorial Unit 184 Figure 5.14 Number of Organized/Curatorial Unit

185 Appendices 187 Hong Kong Arts Development Council 188 Acknowledgement 190 Planning and Research Team 191 Other Related Arts Surveys and Statistics

7 8 Hong Kong Annual Arts Survey 2007/08 Foreword

Hong Kong Arts Development Council (ADC), a statutory body facilitating the arts development in local community, is concerned about arts and cultural issues. Since the HKSAR Government proposed to develop the world-class West Kowloon Cultural District project, more concerns and debates have been raised amid the public. In order to allow for sensible discussion, it is imperative to reference quantitative data that are genuine and objective.

In 2008, ADC started its preliminary study by compiling quantitative data of the Government-funded performing arts groups from 1999 to 2007. The research was devised as groundwork for a full- scale study of the development of the arts sector. In the preliminary study, data provided by the arts groups were often loosely defined and varied, compromised by an oversimplified recording method. Since no standard means of measurement applied, the analysis of the local art activities was far from comprehensive and lacked longitudinal perspective.

For the development of any framework and system for purposes of a survey, statistics or calculation, compiling raw data is always the most valuable, dependable and practicable first step. With this in mind, ADC initiated in 2008 the first of its “Hong Kong Annual Arts Survey” with the aim of establishing an information pool for collecting data and providing the arts community with up-to-date information. The survey will be functioned as a continually renewed platform for the understanding and observation of the local arts and culture milieu and its development.

The initiative in its first year focused on chronicling and profiling Hong Kong’s arts and cultural programmes and activities in 2007/08. The scope and the depth of the survey will be expanded year by year with a view to analyzing the growth of the local arts and culture industry. For the first attempt of the survey, the process of data collection has to be still perfected. The arts community’s participation, support and feedback are very important in completing this project to provide the community at large with accurate primary reference material. In the long run, the survey hopes to provide a vital foundation for the development of cultural software and infrastructure in Hong Kong, and to exert influence on cultural policy-making.

Since 2009, the HKSAR Government has designated arts and creative industries as one of the six economic areas earmarked for future development in Hong Kong. At the same time, the West Kowloon Cultural District Project gradually takes shape. In such case, arts development in Hong Kong is about to enter a new chapter along with deepen discussions. ADC will strengthen its research and study on arts ecology, with the aim of facilitating both the Government and the public in understanding the arts sector so as to implement feasible policies.

In the long run, the participation and support of all arts groups, practitioners and research institutions are indispensable to come up with a suitable benchmark to measure the ecology of the local arts and cultural industry, and to reflect more effectively the impact of arts development on different areas of local life. We welcome anyone concern about Hong Kong arts’ development — policy departments, research institutions and arts organizations – to support the ADC’s efforts towards the next stage of research to promote the further development of local arts and culture.

Chairman, Hong Kong Arts Development Council Mr. Ma Fung-kwok SBS, JP

9 10 Hong Kong Annual Arts Survey 2007/08 Introduction

The first year project of “Hong Kong Annual Arts Survey” collected and analyzed data on the performing arts (Theatre, Xiqu, Dance and Music) programmes and visual arts exhibitions held from April 2007 to March 2008. Data covered the number of performances/exhibitions, ticket prices and audience figures, etc.

Performing Arts

Data collection was divided into two parts. Part One described the actual performance and activities based on the attendance and performance figures directly obtained from the operators of major arts and cultural facilities. Part Two provided data analysis compiling from event calendars/stage schedules1(hereinafter referred to as ‘event calendar’) of the major arts and cultural facilities, from which we developed an understanding of various issues like distribution of performances across different arts genres, ticket prices, or the organizers/producers, etc. These can serve as reference data for the arts sector. The first year project obtained such data from five venue operators: Leisure and Cultural Services Department (LCSD), Hong Kong Academy for Performing Arts (HKAPA), Hong Kong Fringe Club (HKFC), Hong Kong Arts Centre (HKAC), and Sunbeam Theatre (ST).

There are 34 performing arts venues (e.g., concert halls and theatres) and 20 ancillary facilities (e.g., lobbies and piazzas) in the 17 Performance Facilities managed by the aforementioned venue operators2. Observations could be drawn by compiling raw data from the event calendars, for example:

• Number of arts/cultural organizations as the presenters or producers of programmes and performances; • Distribution of local or non-local productions and performances measured by the nature of the participating organizations; • Monthly distribution of productions and performances; • Distribution of productions and performances measured by arts genres (for instance, Dance is divided into Ballet, Modern Dance, Chinese Dance and Foreign Folk Dance); and • Admission nature of the performances.

Visual Arts

Privately-run galleries have always been very active in holding exhibitions, mostly small ones, while public art museums usually curate large-scale exhibitions. This survey, employed the Hong Kong Visual Arts Yearbook’s primary information for secondary data analysis. Edited and published by the Department of Fine Arts of the Chinese University of Hong Kong annually, the Hong Kong Visual Arts Yearbook records local exhibitions as well as overseas exhibitions staged by Hong Kong artists. Its definition and inclusion criteria of an exhibition are stringent. In addition to public art museums, an extensive scope of exhibition venues are also covered, including art museums in universities, privately-run museums, art galleries, schools, shopping centres and shops, and other public facilities and spaces (e.g., hospitals, metro stations and streets). Data of the Hong Kong Visual Arts Yearbook provide a complete picture of the visual arts exhibitions held at various locations in Hong Kong in 2007/08.

1 Major arts and cultural facilities are targeted on the core performing arts venues in Hong Kong. Raw data were compiled from event calendars of these facilities under LCSD, Hong Kong Academy for Performing Arts, Hong Kong Fringe Club and Hong Kong Arts Centre. Raw data of Sunbeam Theatre were gathered from its stage schedule. 2 Details of the 34 performing arts venues housed in the 17 Performance Facilities refer to the Statistical Classifications for Performing Arts section. (P.23)

11 Observations that can be drawn from the statistics on visual arts include:

• Number of exhibitions and exhibition days; • Distribution measured by type of exhibition, e.g., Roving Exhibition and Permanent Exhibition; • Distribution measured by medium of exhibition, e.g., “Calligraphy, Painting and Seal Carving”, ”Drawing”, ”Block Printing”, ”Sculpture” etc.; and • Distribution measured by type of venue, e.g., government venue, non-government venue, public space, etc.

For the first year project, nearly 6,000 original records in the aforementioned scope of performing arts and visual arts were collected and over 220,000 data cells were processed, of which various cross-tabulation can be done. As a yearly survey on Hong Kong arts scene, “Hong Kong Annual Arts Survey” will gradually expand the depth and the scope of data collection. For example, film festivals/ feature screening and ticket sales will be included. In doing so, a mechanism for collecting data about the arts scene can be set up to reflect the sector development in a long term basis.

Limitations of this Survey

This first year survey (hereinafter referred to as ‘the Survey’) was subject to the following restrictions in data collection:

• The ticket sales and attendance for each performance could not be obtained from the venue operators;

• The event calendars did not capture addition or cancellation of performances at the later stage, therefore giving rise to a discrepancy between the survey findings and the actual figures;

• The completeness of data and the accuracy of classification of the productions were subjected to the sufficiency of event calendars’ records. For instance, not all programme sponsors were listed on the event calendars, making it difficult to obtain details about private organizations sponsoring arts/cultural programmes;

• Museums under the LCSD record attendance figures. However, the figures are composed of exhibitions visitors as well as visitors of other events and activities. At this stage, the attendance figures for individual exhibitions cannot be obtained as required by the Survey.

• Visual arts analysis were based on the data derived from the original records in the Hong Kong Visual Arts Yearbook editing and publishing by the Department of Fine Arts of the Chinese University of Hong Kong. At present, the majority of organizers and curators are not able to provide the Yearbook with attendance figures for their individual exhibitions. In this connection, the attendance figures for every exhibition staged by private organizations could not be obtained.

12 Hong Kong Annual Arts Survey 2007/08 The following limitations were also encountered in the process of statistical calculation:

• The LCSD’s data on multi-arts programmes include some of the programmes within the scope of the Survey, for example, choral speaking and music competition, puppetry programmes, productions that combined different forms (e.g., skating, martial arts and acrobatics), programmes such as “Swan Lake On Ice”, “Shaolin in the Wind”, or acrobatic Ballet programmes performed during the International Arts Carnival. The Survey was not able to separate the data from multi-arts programmes provided by LCSD. For this reason, there was a discrepancy between the number of performances in Part One and Part Two.

• Some of the venue operators were not able to provide attendance of individual performance. They could only provide the overall attendance tabulated by art forms (e.g. Dance, Theatre, Music, and Xiqu).

• The Survey originally collected and summarized data of the programmes staged at the 17 Performance Facilities, as well as two multi-purpose stadiums (Queen Elizabeth Stadium and Hong Kong Coliseum), the Jockey Club Auditorium of the Hong Kong Polytechnic University, and the Academic Community Hall of the Hong Kong Baptist University. Some of the venue operators were only able to provide partial data. For examples, only 34 performing arts venues provided the performance and attendance figures, with no attendance records for the rest of the venues; or that they were only able to provide figures of their own presentations, not those which were presented by other organizations. Thus, the charts and tables of this report only showed the statistical data related to the 34 performing arts venues in the 17 Performance Facilities.

• Any discrepancy between the statistical data and the numbers provided by the venue operators, after repeated checking, was attributed to additional/ cancelled performances at the later stage, or else recording/statistical errors.

Performing Arts 16 Hong Kong Annual Arts Survey 2007/08 Performing Arts

Overview

Sustainable development of the art sector would be impossible if the entire scene is filled up by only one or two professional arts groups. The more groups participate, the varied paths for future development of the arts community will be. Be they amateur organizations that perform as hobby, or companies that aim towards professionalism, or groups that target different artistic expressions and audience, sustainable development will be a possibility as long as diversity exists. What then was the level of activity for the performing arts groups in 2007/08?

We seek the answer to the above question from the data collected and calculated.

The Survey findings for the performing arts were presented in two parts. Part One showed the distribution of performance and attendance figures directly provided by the venue operators. Part Two analyzed the information based on event calendars of the major arts and cultural facilities in Hong Kong. LCSD also contributed to this part by providing information on programmes that had received rental subsidy/sponsorship. This helped us to understand productions in each art form in terms of different sources of funding3.

Overview What was the attendance figure? According to the data provided by the venue operators, a total of 5,672 performances had taken place at the performing arts venues of the 17 Performance Facilities, reaching nearly 2.79 million attendances. The figure only indicated performances from Dance, Theatre, Music and Xiqu, but excluded Variety Show4. With a population of 7 million, then each person in Hong Kong enters a theatre/concert hall around 0.4 times a year on average. (See Figure 1.1)

3 Sources of funding are classified into four categories: Administrative Grant, Project Grant, Rental Subsidy and Other Funds. Administrative Grant refers to programmes presented/produced by the ten performing arts groups which are directly subvented by the Home Affairs Bureau, and the arts groups which received One-year Grant from ADC. Those funding mainly support the operation of the arts groups and part of the programmes organized/produced by them. Project Grant refers to programmes presented/sponsored by LCSD, and/or those receiving subvention from the Cantonese Opera Development Fund and/or ADC’s Project Grants, as well as programmes presented/co-presented by other governmental departments/statutory bodies (e.g., Education Bureau, District Council etc.), and those presented/produced by Hong Kong Academy for Performing Arts and Hong Kong Arts Festival. Rental Subsidy refers to programmes which were covered by the Rental Subsidy Scheme or Hire Charge Reduction Scheme or any venue sponsorship from LCSD. Other Funds refers to programmes that did not receive any of the above public funding/subsidy. However, they might receive funding from various foundations or from non-governmental bodies. 4 These figures did not take into account the multi-arts programmes, such as choral speaking and music competitions, puppetry programmes held at LCSD’s venues.

17 How many programmes per week were available? Based on calculation, audience had an average of 59 programmes on any week to choose from, spanning from Dance, Theatre, Music, Xiqu to Variety Show in 2007/08. The average numbers of each art form on any week were as follows: 3.8 Dance programmes, 8.9 Theatre programmes, 21.5 Music programmes, 21.9 Xiqu programmes and 2.6 Variety Show programmes.

Widest range of programme choices available in May Analysed the numbers of programmes and performances by genres, from Dance, Theatre, Music, Xiqu to Variety Show, and by months more diverse range of arts programmes were staged at the aforementioned performing arts venues in May 2007. In other words, audiences enjoyed the widest programme choices, including Combined Dance, Combined Music, Chinese Music, Western Music, Drama, Physical Theatre/Mime, and Cantonese Opera in May 2007 as these types of programmes had the highest numbers of productions staged.

How many organizations participated in the performances? Statistics showed that 1,615 different units presented or produced 3,050 programmes at the aforementioned venues in 2007/08. These 1,615 units included individuals, arts groups, arts and cultural organizations, educational institutions, governmental departments, non-profit organizations, and foundations. On average, each unit presented or produced 1.9 programmes in 2007/08. (See Figure 2.1)

How many performances per production were staged? When considering the number of performances and productions presented/produced by these 1,615 units, one performance per programme was the most frequently staged among Dance, Music and Xiqu productions. Theatre was found to be the only art form frequently recording 3 performances per programme. In terms of the average number of performances per programme, it was around 1 for both Music and Xiqu, about 2 for Dance, and around 4 for Theatre. (See Figures 2.3)

How many arts organizations/groups were there? 1,062 out of the 1,615 units, accounting for 66% were arts organizations/groups. These arts organizations/groups staged 1,916 productions, accounting for 63% of the total number of programmes. On average, each of the arts organization/group presented or produced 1.3 programmes in 2007/08. (See Figure 2.2)

Overview of each art form is as follows:

Dance Most performances were staged at large venues According to the data provided by the venue operators, a total of 502 Dance performances were staged in the aforementioned venues. The top five venues with the most Dance performances staged were: the Grand Theatre of the Hong Kong Cultural Centre (accounting for 12.7% of the 502 performances), the Lyric Theatre of HKAPA (8.2%), the Auditorium of the Tsuen Wan Town Hall (7.8%), the Theatre of the Ko Shan Theatre and the Auditorium of the Sha Tin Town Hall (7.2% each). The seating capacities of these facilities are over 1,000.

18 Hong Kong Annual Arts Survey 2007/08 Performing Arts

Higher proportion of visiting programmes When Dance programmes were divided into local and visiting productions, about 20% were visiting, which was higher than Theatre, Music and Xiqu programmes in percentage. In terms of average number of performances per Visiting Production, Modern Dance had a higher average than Ballet, Chinese Dance and Foreign Folk Dance, implying that the public had more opportunities to enjoy Modern Dance performances staged by non-local arts groups. (See Figures 4.1.3 through 4.1.6)

Exceptionally high number of Ballet performances in December On average, 2.2 performances per Dance programme were staged. When the average performance numbers of Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance were tabulated by months, an exceptionally high number of Ballet performances per programme in December 2007 was found. The statistics showed there was only one Ballet programme with 15 performances staged in that month. (See Figures 4.1.7 and 4.1.8)

The top price ticket for Ballet was relatively more expensive When public performances were tabulated by the top price ticket5, more Ballet performances were found in the upper end of the price category. Around 40% of Ballet performances were priced above HK$420, of which 60% were Local Productions. The top price tickets of other Dance performances were set in less expensive segment. Around 40% of the most expensive Chinese Dance performances were priced at HK$281-$350 category. Around 40% of the total Foreign Folk Dance performances were priced at HK$141-$210 segment. Over 80% of the total Modern Dance performances fell into two categories ranged from HK$71 to HK$210. By comparison, Ballet had the highest average ticket price in the Dance categories. (See Figures 4.1.11 through 4.1.13)

Most were government-funded/sponsored performances When classified by sources of funding, Dance programmes accounted for the highest proportion of performances with public funding/sponsorship among the four art forms. The percentages of Dance programmes and performances funded by Administrative Grant, Project Grant and Rental Subsidy accounted for 83% and 85% of the total Dance programmes and performances respectively. (See Figures 4.1.14 through 4.1.17)

Theatre Was the theatre community exceptionally active? In reviewing the mode of performances per programme presented/produced by various units, it was found that the theatre community differed from others. The Theatre presentation/production unit generally staged three performances per programme. Did it mean that Theatre was exceptionally active, or was it the outcome of Theatre’s operating mode, which tends to stage productions at smaller venues?

5 When determining the top price ticket for each performance, only full-price tickets of public performances were considered. Concession tickets were not counted.

19 The highest number of performances From the figures provided by the venue operators, Theatre performances staged in the performing arts venues of the 17 Performance Facilities was the highest among the four art forms. There were 2,036 Theatre performances accounting for 35.6% of the total performances (5,684) in 2007/08. The Studio Theatre of the Hong Kong Cultural Centre was the venue that accommodated for the highest number of Theatre performances (accounting for 11.7%). The next four venues in order were: the Lyric Theatre of HKAPA (9.6%), the McAulay Studio (9.2%) and the Shouson Theatre (9.1%) of HKAC, and the Fringe Theatre of HKFC (7.1%). These top five venues had varying seating capacity ranged from several dozen to over thousand, indicating that there might have other reasons for the higher number of Theatre performances staged, and that it was not necessarily due to the smallness of venues.

Musicals had the highest proportion of paid performances According to the data, Theatre performances had the highest proportion of paid performances among the four art forms (See Figure 3.12). Within the different genres of Theatre, Musicals had a higher proportion of paid performances than that of Drama and Children Theatre. (See Figure 4.2.10)

Performances mostly supported by Other Funds Tabulated by sources of funding, Theatre had higher proportions of both programmes and performances supported by Other Funds than that of Dance, Music and Xiqu (see Figures 3.15 and 3.17). Within the different genres of Theatre, Musical performances supported by Other Funds had higher proportion than that of Drama and Children Theatre (see Figures 4.2.15 and 4.2.17).

Music The largest number of presentation/production units According to the data, Music programmes accounted for 37% of the total number of programmes, with the largest number of presentation/production units among the four art forms as well. There were 591 out of 1,615 presentation/production units, which included arts groups, arts and cultural organizations, community groups, educational institutions etc., accounting for 36% of the total number. (See Figure 2.1)

20 Hong Kong Annual Arts Survey 2007/08 Performing Arts

Number of competition performances was the highest Music programmes can be divided into eight genres6. While the sub-category “Competition” only accounted for 6% of all Music programmes, its performance number recorded the highest proportion among the eight Music sub-categories. The main reason was due to the large number of speech and music competition programmes in 2007/08. On average, more than 30 performances per speech and music competition programme were staged, therefore the number added up to over 300 performances. (See Figures 4.3.1 and 4.3.2)

The largest number of free performances In terms of the admission nature for public performances, about half of the Music performances were free, which was the highest proportion in the four art forms (see Figure 3.12). Among the free Music performances, nearly 600 were competitions. The number was accounted for two-thirds of all free Music performances and 33% of all public performances of Music. As a result, it contributed to a more even spread of free and paid public performances of Music. (See Figures 4.3.9 and 4.3.10)

The average fare of Opera was the highest Most of the paid public performances of Music had their top price tickets fell into HK$70 and less category. Opera performances had their top price ticket ranged from HK$250 to HK$1,280. When calculating the average top price tickets, public Opera performances was around HK$822, which was also the highest in all art forms. (See Figures 4.3.11 through 4.3.13)

Active participation of educational institutions More Music programmes and performances were staged by educational units7 at the aforementioned venues than that of Dance, Theatre and Xiqu. There were 44 educational units presented or produced a total of 253 Music programmes, accounting for 23% of the total 1,119 Music programmes in 2007/08. Given that HKAPA is one of the educational units, its Music programmes were accounted for 75% within the category. Disregarded these HKAPA’s programmes, the number of Music programmes presented/produced by educational units was still the highest among the four art forms. (See Figures 4.3.18 through 4.3.21)

6 Music programmes are classified into eight sub-categories: Chinese Music, Western Music, Choir, Opera, Vocal/Concert, Speech, Competition and Combined. Details of these arts genres can be referred to the Statistical Classifications for Performing Arts section. (p.23) 7 The educational units include the arts societies/groups such as the bands or choirs of all primary and secondary schools, kindergartens, school sponsoring bodies, the Hong Kong Academy for Performing Arts, colleges, universities, and inter-school/educational associations such as the Hong Kong Schools Music and Speech Association.

21 Xiqu Highest number of attendance According to the data provided by the venue operators, Xiqu recorded the highest number of attendance, accounting for nearly 35% of the total attendance of 2.79 million in 2007/08. (See Figure 1.1)

The largest number of arts organizations Excluding organizations of non-arts nature, such as educational institutions, social service organizations and individuals, a total of 1,062 arts organizations8 presented or produced 1,916 programmes in 2007/08 were recorded. Among all art forms, the Xiqu community was the largest, accounted for 40% of the 1,062 arts and cultural organizations.

More Cantonese operatic songs programmes Data indicated that 1,137 Xiqu productions were recorded in 2007/08, accounting for 37% of the total 3,050 programmes, which was the largest among the four art forms. Within the Xiqu sub- categories, Cantonese Operatic Songs recorded more programme and performance numbers than the other six genres9. (See Figures 4.4.1 and 4.4.2)

Ticket price for Cantonese opera was relatively high More paid public performances of Xiqu programmes had their top price ticket charged at HK$281- $350 segment, especially Cantonese Opera performances (see Figure 4.4.12).

Most performances received Rental Subsidy Classified by funding sources, the percentages of Xiqu programmes and performances receiving LCSD rental reduction/subsidy were higher than that of Dance, Theatre and Music (see Figure 3.15 and 3.17). Within the Xiqu sub-categories, the Cantonese Operatic Songs had the higher percentages of programmes and performances among the different genres (See Figures 4.4.15 and 4.4.17).

Details about each of the art forms refer to Chapter IV.

8 Arts organizations refer to arts groups, arts and cultural organizations or associations, with the drama groups or arts societies/groups in the educational units not included. Where a programme was co-presented/ produced by more than one arts organization, all such organizations were counted in. 9 Xiqu programmes are classified into seven genres: Cantonese Operatic Songs, Cantonese Opera, other Chinese Operas, Traditional Puppetry, Competition, Combined, and Miscellaneous. Details can be referred to the Statistical Classifications for Performing Arts section. (p.23)

22 Hong Kong Annual Arts Survey 2007/08 Performing Arts

Statistical Classifications for Performing Arts

1. The 17 Performance Facilities refer to: The 13 cultural and performance facilities under the umbrella of LCSD and 4 other major arts and cultural facilities, including Hong Kong Academy for Performing Arts, Hong Kong Arts Centre, Hong Kong Fringe Club and Sunbeam Theatre, collectively referred to as “17 Performance Facilities” in the report. The 13 cultural and performance facilities under the umbrella of LCSD are Hong Kong Cultural Centre, Hong Kong City Hall, Sha Tin Town Hall, Tsuen Wan Town Hall, Tuen Mun Town Hall, Kwai Tsing Theatre, Ko Shan Theatre, Ngau Chi Wan Civil Centre, Sai Wan Ho Civil Centre, Sheung Wan Civil Centre, Tai Po Civil Centre, North District Town Hall and Yuen Long Theatre.

2. Performing arts venues of the above 17 Performance Facilities are counted, excluding other ancillary facilities, such as lobbies, piazzas, rehearsal rooms, exhibition halls etc. There are 34 performing arts venues housed in the 17 Performance Facilities, namely:

• Lyric Theatre, Drama Theatre, Concert Hall, Recital Hall and Studio Theatre at Hong Kong Academy for Performing Arts; • Shouson Theatre, Agnès b. Cinema and McAulay Studio at Hong Kong Arts Centre; • Fringe Theatre and Fringe Studio at Hong Kong Fringe Club; • Hall 1 and Hall 2 at Sunbeam Theatre; • Concert Hall, Grand Theatre and Studio Theatre at the Hong Kong Cultural Centre; • Concert Hall and Theatre at the Hong Kong City Hall; • Auditoriums and Cultural Activities Halls at the Sha Tin Town Hall, the Tsuen Wan Town Hall and the Tuen Mun Town Hall; • Auditorium at the Kwai Tsing Theatre; • Theatre at the Ko Shan Theatre; • Theatres and Cultural Activities Halls at the Sai Wan Ho Civil Centre and the Ngau Chi Wan Civil Centre; • Theatre and Lecture Hall at the Sheung Wan Civil Centre; • Auditoriums at the Tai Po Civil Centre, the Yuen Long Theatre and the North District Town Hall.

3. Classification of arts genres and their definitions:

• “Dance” refers to modern/traditional dance, folk dance and ballet, but not including social dance. The Survey divides Dance programmes into six different arts genres: Ballet, Modern Dance, Chinese Dance, Foreign Folk Dance, Competition and Combined. • “Theatre” refers to Chinese and western plays, contemporary puppetry and musical, but not including opera and traditional puppetry. The Survey divides Theatre programmes into six different arts genres: Drama, Children Theatre, Musical, Physical Theatre/Mime, Competition and Combined. Children Theatre refers to programmes targeted for children, which may take the form of puppetry or musical, etc.

23 • “Music” refers to Chinese and western classical/traditional music, vocal (e.g., choir, choral speaking) and opera, but not including pop music. In this Survey, Music programmes are classified into eight different arts genres: Chinese Music, Western Music, Choir, Opera, Vocal/Concert, Speech, Competition and Combined. • “Xiqu” refers to the Chinese operas originated from different places in China, Chinese operatic songs and traditional puppetry. In this Survey, Xiqu programmes are classified into seven different arts genres: Cantonese Operatic Songs, Cantonese Opera, Other Chinese Operas, Traditional Puppetry, Competition, Combined and Miscellaneous. Other Chinese Opera refers to any Chinese opera other than Cantonese opera, such as Beijing Opera, Kun Opera and Yue Opera, etc. Miscellaneous refers to children Cantonese opera/operatic songs programmes and programmes that cannot be classified due to lack of detailed information. • “Variety Show” refers to any programme that encompasses more than one art form. For example, when one session of a production is a Dance performance and another involves playing musical instruments, but not including multi-media arts, film, pop music concert and social dance.

4. There are programmes classified as Competition and Combined in each art form. Competition includes award presentation ceremony programmes. Combined programme refers to one involving two arts genres or above. For example, a Combined Music programme can be one that contains both Western Music and Vocal/Concert.

5. Classification of local and visiting programmes and their definitions:

• “Local Production” refers to any programme that is performed by a local group(s); • “Visiting Production” refers to any programme that is performed by a non-local group(s); and • “Mixed Production” refers to any programme that is performed jointly by local and non-local groups. Classification is based on the presentation/production organization, not individual artist participated in a production.

6. Classification of sources of funding and their definitions:

• Administrative Grant refers to programmes presented/produced by the ten performing arts groups which are directly subvented by the Home Affairs Bureau, and the arts groups which received One-year Grant from ADC. Those funding mainly support the operation of the arts groups and part of the programmes organized/ produced by them; • Project Grant refers to programmes presented/sponsored by LCSD, and/or those receiving subvention from the Cantonese Opera Development Fund and/or ADC’s Project Grants, as well as programmes presented/co-presented by other governmental departments/statutory bodies (e.g., Education Bureau, District Council etc.), and those presented/produced by Hong Kong Academy for Performing Arts and Hong Kong Arts Festival; • Rental Subsidy refers to programmes which were covered by the Rental Subsidy Scheme or Hire Charge Reduction Scheme or any venue sponsorship from LCSD; • Other Funds refers to programmes that did not receive any of the above public funding/subsidy. However, they might receive funding from various foundations or from non-governmental bodies.

7. All figures are rounded off.

24 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

Part One

25 Distribution of Attendance and Performances

Part One described the performance and attendance figures of Dance, Theatre, Music and Xiqu productions that obtained directly from the operators of major performance facilities, to reflect an actual picture of arts performances in Hong Kong. The charts and tables included:

Number of attendance at the performing arts venues in 2007/08 • Overall distribution; • Top ten venues measured by attendance; • Top fi ve venues measured by attendance in each art form

Number of performances at the performing arts venues in 2007/08 • Top ten venues measured by number of performances • Top ten venues measured by number of performances in each art form

Data of the first-year Survey were collected from five venue operators: Leisure and Cultural Services Department (LCSD), Hong Kong Academy for Performing Arts (HKAPA), Hong Kong Fringe Club (HKFC), Hong Kong Arts Centre (HKAC) and Sunbeam Theatre (ST). These venue operators provided figures of performances and attendances for Dance, Theatre, Music and Xiqu productions.

There are 34 performing arts venues (e.g., concert halls, theatres, etc.)10 and 20 ancillary facilities (e.g., lobbies, piazzas and rehearsal rooms, etc.) housed in the 17 Performance Facilities. These venues as well as two multi-purpose stadiums are managed by the aforementioned venue operators.

Charts and tables in Part One showed the distribution of performance and attendance figures of Dance, Theatre, Music and Xiqu productions staged at the 34 performing arts venues in the 17 Performance Facilities. As the scope of the multi-arts programmes from venues operators goes beyond the scope of the Variety Show of the Survey,11 the performance and attendance figures of the Variety Show were deducted in Part One.

10 Details of the 34 performing arts venues refer to the Statistical Classifications for Performing Arts section (p.23). 11 The LCSD’s data on multi-arts programmes include variety shows, multi-media performances, acrobatics etc. As the Survey was not able to separate the data from multi-arts programmes provided by LCSD, the performance and attendance figures of the Variety Show were not shown in Part One.

26 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

1. Annual Figure 1.1 Distribution of Attendance by Art Form Attendance and Dance 296,183 Performance 10.6% Xiqu Numbers 967,056 at the 34.7% Performing

Arts Venues Theatre 2,789,343 716,097 attendances 25.7%

Music 810,007 29.0%

* A total of 5,672 performances drew a total of 2,789,343 attendances

According to the data provided by LCSD, HKAPA, HKFC, HKAC and ST, a total of 5,672 Dance, Theatre, Music and Xiqu performances were staged at the 34 performing arts venues in the 17 Performance Facilities in 2007/08, drawing a total of 2,789,343 attendances, of which Xiqu performances were the most appealing, accounting for 35%, followed by Music performances at 29%.

Given 7 million populations in Hong Kong, the average citizen visited a theatre/ concert hall 0.4 times in 2007/08.

27 Figure 1.2 Number of Attendance by Art Form by Venue (Top Ten Venues)

350,000

306,045 300,000 280,315 266,717 263,925

250,000 230,617 211,653

200,000 Number of 184,907 Attendance

150,000 118,245 106,887 99,585 100,000

50,000

Hall 1, Theatre, Auditorium, Auditorium, Auditorium, Auditorium, Concert Hall, Concert Hall, Grand Theatre,

Ko Shan Theatre Sunbeam TheatreSha Tin Town Hall Kwai Tsing Theatre Hong Kong City Hall Tsuen Wan TownTuen Hall Mun Town Hall Lyric Theatre, Hong Kong Hong Kong CulturalHong Kong Centre Cultural Centre Academy for Performing Arts

Performing Arts Venue

Dance Theatre Music Xiqu

28 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

Concert Grand Concert Hall 1, Auditorium, Lyric Theatre, Auditorium, Auditorium, Auditorium, Number of Hall, Hong Theatre, Hall, Hong Sunbeam Sha Tin Theatre, Ko Shan Tsuen Wan Tuen Mun Kwai Tsing Attendance Kong Hong Kong Kong City Theatre Town Hall Hong Kong Theatre Town Hall Town Hall Theatre Sub-total & Cultural Cultural Hall Academy for Percentage Centre Centre Performing Arts

89,848 4,383 37,391 31,285 16,789 24,226 20,784 8,779 233,485 Dance – – 32% 2% 16% 14.7% 9% 20% 19% 9% 11%

96,914 21,008 11,541 176,558 49,426 7,854 25,624 388,925 Theatre – – – 35% 8% 5% 83.4% 42% 7% 26% 19%

268,708 34,798 155,153 90,564 254 1,932 18,973 33,217 17,017 620,616 Music – 88% 12% 58% 39% 0.1% 1% 16% 31% 17% 30%

37,337 58,755 86,173 263,925 91,121 3,556 166,186 25,620 45,032 48,165 825,870 Xiqu 12% 21% 32% 100% 40% 1.7% 90% 22% 42% 48% 40%

306,045 280,315 266,717 263,925 230,617 211,653 184,907 118,245 106,887 99,585 2,068,896 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

By ranking the 34 performing arts venues of the 17 Performance Facilities, the Concert Hall of the Hong Kong Cultural Centre reached the highest attendance of 306,045 accounting for 11% of the total 2.79 million attendances. Grand Theatre of the Hong Kong Cultural Centre was the next, with 280,315 attendances, accounting for 10% of the overall audience.

With difficulty to obtain the attendance rate of each performance, the Survey only lists the seating capacity of these venues for reference. Note that a venue with higher seating capacity does not necessarily draw more attendance. As the number of seats available will be affected by the stage design of each production, the attendance rate should not be simply calculated by the seating capacity in this case.

Seating Top Ten Venues Capacity Concert Hall, Hong Kong Cultural Centre 2,019 Grand Theatre, Hong Kong Cultural Centre 1,734 Concert Hall, Hong Kong City Hall 1,434 Hall 1, Sunbeam Theatre 1,033 Auditorium, Sha Tin Town Hall 1,372 Lyric Theatre, Hong Kong Academy for Performing Arts 1,181 Theatre, Ko Shan Theatre 1,031 Auditorium, Tsuen Wan Town Hall 1,420 Auditorium, Tuen Mun Town Hall 1,372 Auditorium, Kwai Tsing Theatre 905

29 Figure 1.3 Number of Dance Attendance at the Top Five Venues

37,391

24,226 Auditorium, 20,784 Sha Tin Town Hall

Auditorium, Auditorium, Tsuen Wan Town Hall Tuen Mun Town Hall

89,848

31,285 Grand Theatre, Hong Kong Cultural Centre

Lyric Theatre, Hong Kong Academy for Performing Arts

Represents 50,000 attendances

Dance performances drew a total attendance of 296,183. By ranking the 34 performing arts venues, the Grand Theatre of the Hong Kong Cultural Centre was the most popular venue for Dance performances, accounting for 30% of the total Dance attendance. The Auditorium of the Sha Tin Town Hall was the next, accounting for 13%.

30 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

Figure 1.4 Number of Theatre Attendance at the Top Five Venues

49,426

Auditorium, Tsuen Wan Town Hall

96,914 62,899

Grand Theatre, Studio Theatre , 176,558 Hong Kong Hong Kong Cultural Centre Cultural Centre

71,541

Lyric Theatre, Shouson Theatre, Hong Kong Academy Hong Kong Arts Centre for Performing Arts

Represents 50,000 attendances

Theatre performances drew a total attendance of 716,097. By ranking the 34 performing arts venues, the Lyric Theatre of Hong Kong Academy for Performing Arts was the most popular venue for Theatre performances, accounting for 25% of the total theatre attendance, followed by the Grand Theatre of the Hong Kong Cultural Centre which accounted for 14%.

The Shouson Theatre of Hong Kong Arts Centre and the Studio Theatre of the Hong Kong Cultural Centre are medium-size theatres, the former has 439 seats and the latter with a seating capacity ranging from 303 to 496. These two venues captured for 10% and 8.8% of the total theatre attendance respectively.

31 Figure 1.5 Number of Music Attendance at the Top Five Venues

90,564

Auditorium, 33,217 Sha Tin Town Hall

Auditorium, 268,708 Tuen Mun Town Hall

34,798

Grand Theatre, Concert Hall, Hong Kong Hong Kong Cultural Centre Cultural Centre 155,153

Represents 50,000 attendances Concert Hall, Hong Kong City Hall

Music performances drew a total attendance of 810,007. By ranking the 34 performing arts venues, the Concert Hall of the Hong Kong Cultural Centre was the most popular venue for Music performances, accounting for 33% of the total Music attendance, followed by the Concert Hall of the Hong Kong City Hall which accounted for 19%.

32 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

Figure 1.6 Number of Xiqu Attendance at the Top Five Venues

91,121

Auditorium, Sha Tin Town Hall

166,186

58,755 Theatre, Ko Shan Theatre 263,925

Grand Theatre, 86,173 Hong Kong Cultural Centre

Hall 1, Represents 50,000 Concert Hall, Sunbeam Theatre attendances Hong Kong City Hall

Xiqu performances drew a total attendance of 967,056. By ranking the 34 performing arts venues, Hall 1 of the Sunbeam Theatre was the most popular venue for Xiqu performances, accounting for 27% of the total Xiqu attendance, followed by the Theatre at the Ko Shan Theatre which accounted for 17%.

33 Figure 1.7 Number of Performances at the Top Ten Venues

Hall 1, Sunbeam Theatre 350 6.2% Theatre, Ko Shan Theatre 297 5.2% Concert Hall, Hong Kong City Hall 296 5.2% Auditorium, Sha Tin Town Hall 288 5.1% Studio Theatre, Hong Kong Cultural Centre 266 4.7% Performing Arts Venue Theatre, Sai Wan Ho Civil Centre 265 4.7% Cultural Activities Hall, Sha Tin Town Hall 255 4.5% Lyric Theatre, Hong Kong Academy for Performing Arts 240 4.2% Concert Hall, Hong Kong Cultural Centre 228 4.0% Grand Theatre, Hong Kong Cultural Centre 217 3.8%

0 50 100 150 200 250 300 350 400 Number of Performances

In terms of number of performances, the top five venues housed most of the performances were: Hall 1 of the Sunbeam Theatre (6.2% of the total 5,672 performances), Theatre at the Ko Shan Theatre (5.2%), Concert Hall of the Hong Kong City Hall (5.2%), Auditorium of the Sha Tin Town Hall (5.1%) and Studio Theatre of the Hong Kong Cultural Centre (4.7%).

34 Hong Kong Annual Arts Survey 2007/08 Distribution of Attendance and Performances

Figure 1.8 Number of Performances by Art Form at the Top Ten Venues

400

350 350

297 296 288 300 266 265 255 240 250 228 217

Number of 200 Performances

150

100

Hall 1, Theatre, Theatre, Auditorium, Concert Hall, Concert Hall, Studio Theatre, Grand Theatre, Sunbeam TheatreKo Shan Theatre Sha Tin Town Hall Sha Tin Town Hall Hong Kong City Hall Cultural Activities Hall,

San Wan Ho Civil CentreLyric Theatre, Hong Kong Hong Kong Cultural Centre Hong Kong HongCultural Kong Centre Cultural Centre Academy for Performing Arts

Performing Arts Venue

Dance Theatre Music Xiqu

35 Hall 1, Theatre, Concert Auditorium, Studio Theatre, Cultural Lyric Concert Grand Sub-total Sunbeam Ko Shan Hall, Hong Sha Tin Theatre, Sai Wan Ho Activities Theatre, Hall, Hong Theatre, Number of Theatre Theatre Kong City Town Hall Hong Kong Civil Centre Hall, Sha Hong Kong Kong Hong Kong Performances Hall Cultural Tin Town Academy Cultural Cultural & Percentage Centre Hall for Centre Centre Performing Arts

36 8 36 14 28 3 41 64 230 Dance – – 12% 3% 13% 5.3% 11% 1% 17.1% 29% 9%

24 21 239 84 84 195 80 727 Theatre –– – 8% 7% 89.8% 32% 33% 81.3% 37% 27%

2 178 119 12 48 158 1 198 23 739 Music – 1% 60% 41% 4.5% 18% 62% 0.4% 87% 11% 27%

350 259 86 112 1 105 10 3 30 50 1,006 Xiqu 100% 87% 29% 39% 0.4% 40% 4% 1.3% 13% 23% 37%

Sub- 350 297 296 288 266 265 255 240 228 217 2,702 total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Figure 1.8 showed the number of performances at top ten popular venues by art form.

According to the data provided by the venue operators, Theatre had the highest record of 2,036 performances, accounting for 35.9% of the total performances. From the figures showed, Theatre performances were mainly put on at the Studio Theatre of the Hong Kong Cultural Centre, which had a total of 239 performances, accounting for 11.7% of the total 2,036 performances.

Music, which was next to Theatre, had a record of 1,665 performances accounting for 29.4% of the total performances. From the figures showed, Music performances were mainly staged at the Concert Hall of the Hong Kong Cultural Centre, which had a total of 198 performances accounting for 11.9% of the total Music performances.

Xiqu recorded 1,469 performances, accounting for 25.9% of the total performances. From the figures showed, Sunbeam Theatre and Ko Shan Theatre were the two major venues for housing Xiqu programmes. A high proportion of Xiqu performances were put on at Hall 1 of Sunbeam Theatre, with 350 performances accounting for 23.8% of the total Xiqu performances.

Dance recorded 502 performances, accounting for 8.9% of the total performances. From the figures showed, a high proportion of Dance performances were staged at the Grand Theatre of the Hong Kong Cultural Centre, with 64 performances accounting for 12.7% of the total Dance performances.

36 Hong Kong Annual Arts Survey 2007/08 Presentation/production Units

Part Two

37 Performing Organizations, Productions and Performances in Different Art Forms

To understand the distribution of productions across different art genres, ticket prices, or organizers and producers, data were compiled from event calendars of the major arts and cultural facilities. Charts and tables in Part Two mainly included:

Number of Presentation/Production units in 2007/08 • Overall distribution • Distribution of arts organizations in each art form • Distribution of productions and performances measured by arts organization in each art form

Number of Productions and Performances in 2007/08 • Overall distribution • Distribution measured by local/non-local nature • Distribution measured by month • Distribution measured by admission nature • Distribution measured by top price tickets • Distribution measured by source of funding

Number of Productions and Performances within Each Art Genre • Overall distribution • Distribution measured by local/non-local nature • Distribution measured by month • Distribution measured by admission nature • Distribution measured by top price tickets • Distribution measured by source of funding

According to the data analyzed from the event calendars, a total of 6,063 performances from 3,198 productions (Dance, Theatre, Music, Xiqu and Variety Show) were staged at the 54 venues in the 17 Performance Facilities during 2007/08. These 54 venues consist of 34 performing arts venues and 20 ancillary facilities (e.g., lobbies, piazzas, rehearsal rooms, etc.).

Part Two data only described the details of the 3,050 productions which put on at the 34 performing arts venues in the 17 Performance Facilities in 2007/08.

38 Hong Kong Annual Arts Survey 2007/08 Presentation/production Units

2. Number of Figure 2.1 Distribution of Presentation/production Units by Art Form Presentation/ Production Variety Show Dance Units 124 129 7.7% 8.0%

Theatre Xiqu 257 514 15.9% 31.8% 1,615 units

Music 591 36.6%

In terms of the Dance, Theatre, Music, Xiqu and Variety Show programmes housed at the 34 venues in the 17 Performance Facilities, a total of 5,766 performances from the 3,050 productions were staged in Hong Kong in 2007/08.

These 3,050 productions were presented or produced by a total of 1,615 different units, including arts and cultural organizations, community organizations, social service organizations, educational institutions, governmental departments/public bodies12, etc., as well as individuals. The chart above showed that Music had the largest number of presentation/production units among the four art forms, accounting for 36.6% of the total number. Xiqu came next (accounting for 31.8%).

In terms of number of performances per programme presented/produced by the 1,615 units classified under different art form, one performance per programme was the most common in Dance, Music and Xiqu productions. Theatre was found to be the only art form that called for 3 performances per programme.

12 LCSD was not counted in the 1,615 units to avoid double counting as programmes organized by LCSD covers several art forms.

39 Figure 2.2 Distribution of Presentation/production Units (Arts Organizations) by Art Form

Variety Show Dance 33 96 3.1% 9.0%

Xiqu 419 Theatre 39.5% 182 1,062 17.1% units

Music 332 31.3%

After eliminating the non-arts organizations such as educational institutions, social service organizations, and individuals, there were a total of 1,062 different arts organizations putting 3,415 performances from 1,916 productions in 2007/08.

In other words, arts organizations accounted for 66% of all presentation/production units. The numbers of productions and performances that presented/produced by arts organizations accounted for 63% of the total productions and 59% of the total performances presented/produced respectively.

Arts Organizations refer to arts groups, arts and cultural organizations or associations, excluding drama groups or arts societies/groups in the educational institutions. While a programme was co- presented/produced by more than one arts organization, all such organizations would be counted.

From the chart above, Xiqu consisted of the largest number of arts organizations.

40 Hong Kong Annual Arts Survey 2007/08 Presentation/production Units

Figure 2.3 Number of Productions and Performances Presented/produced by Arts Organizations by Art Form

1,000 1,500 931 1,393 perf.

800 1,200 1,095 perf.

600 900

Number of 502 Productions Number of Performances 400 600 (Perf.) 605 319 perf.

200 266 perf. 300 127 56 perf. 37 0 0 XiquMusic Theatre Dance Variety Show

Art Form

Xiqu Music Theatre Dance Variety Show Sub-total

Number of 931 502 319 127 37 1,916 Productions 49% 26% 17% 7% 2% 100%

Number of 1,095 605 1,393 266 56 3,415 Performances 32% 18% 41% 8% 2% 100%

41 When considering the number of productions and performances staged by the 1,062 arts organizations, it was found that Xiqu recorded the highest number of productions (931) and Theatre had the highest number of performances (1,393).

Based on the data shown in Figure 2.2 and Figure 2.3, and average the number of productions presented/produced by an arts organization in respective art form, Xiqu had the highest average number of productions per arts organization. On average, each of the arts organization of Xiqu community presented/produced 2.2 programmes in 2007/08 (with 1.18 performances per programme staged).

The highest average number of performances per arts organization was found in the Theatre community. On average, each Theatre organization staged 1.8 productions and 4.37 performances in 2007/08.

Within the Dance community, average arts organization staged 1.3 productions and 2.09 performances. While within the Music community, each of the arts organization staged 1.21 performances, with 1.5 programmes were presented/produced on average.

42 Hong Kong Annual Arts Survey 2007/08 Art Form

3. Number of Figure 3.1 Distribution of Productions by Art Form Productions and Variety Show Dance 133 Performances 197 4.4% 6.5% by Art Form Theatre 464 Xiqu 15.2% 1,137 37.3%

3,050 productions

Music 1,119 36.7%

According to the statistics, a total of 3,050 productions spanning different genres from Dance, Theatre, Music, Xiqu to Variety Show had taken place at the 34 performing arts venues of the 17 Performance Facilities in 2007/08. Among the art forms, Xiqu had the largest number of productions, followed by Music, Theatre, Dance and Variety Show.

Variety Show refers to all clearly indicated productions, for instance “‘Variety Show’ presented by Tsuen Wan Preparatory Committee of National Day Celebration”, or a programme that involves more than one art form, such as “From Opera, Musical to Movie” staged with both Theatre and Music in a performance. Variety Show does not include multi-arts, film, pop music show and social dance programmes. Examples of Variety Show productions in 2007/08 were “Swan Lake On Ice” and “Shaolin in the Wind”.

On average, there were 58.7 productions at the 17 Performance Facilities each week in 2007/08, of which 21.9 were Xiqu programmes, 21.5 in Music programmes, 8.9 in Theatre programmes, 3.8 in Dance programmes and 2.6 in Variety Show programmes.

43 Figure 3.2 Distribution of Performances by Art Form

Variety Show Dance 181 429 3.1% 7.4% Xiqu 1,334 23.1%

Theatre 5,766 performances 1,857 32.2%

Music 1,965 34.1%

According to the statistics, a total of 5,766 performances spanning different genres from Dance, Theatre, Music, Xiqu to Variety Show were staged at the 34 performing arts venues of the 17 Performance Facilities in 2007/08. When the four major art forms were only taken into account, a total of 5,585 performances were staged during the year.

In comparison, a total of 5,672 performances were recorded by the venue operators, of which Variety Show performances did not take into account. In this case, there was a gap of 87 performances between two sets of numbers.

From the chart above, the highest number of performances was Music, followed by Theatre, Xiqu and Dance in order.

Compared Figure 3.1 with Figure 3.2, the highest average number of performances per programme was found in Theatre (4 performances), followed by Dance (2.18 performances), Music (1.76 performances), Variety Show (1.36 performances) and Xiqu (1.17 performances).

44 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.3 Distribution of Productions by Local/non-local Nature

Visiting Mixed 11.5% 1.1% Local/non-local Number of Percentage Nature Productions

Local 2,665 87.4% 3,050 Visiting 351 11.5% productions Mixed 34 1.1%

Sub-total 3,050 100%

Local 87.4%

With reference to the names of the productions and organizations listed in the event calendars, it was able to classify most of the programmes into Local Production, Visiting Production and Mixed Production.

Local Production refers to any programme that is entirely performed by a local group(s). Visiting Production refers to any programme that is entirely performed by a non-local group(s). Mixed Production refers to any programme that is performed jointly by local group(s) and non-local group(s). Classification is based on the presentation/production organization only.

According to the data showed above, a total of 3,050 productions spanning from Dance, Theatre, Music, Xiqu to Variety Show were staged at the 34 performing arts venues in the 17 Performance Facilities in 2007/08. The majority of which were Local Productions, whereas Visiting Productions accounted for 12% of the total.

Figure 3.4 showed the number of productions tabulated by the local/non-local nature in each art form, it was clearly indicated that there was no Mixed Production in Dance.

Note that production and performance numbers across the art forms were diversified. Comparison should be drawn according to the proportions of each art form, for example, Figure 3.4 indicated the proportion of Visiting Production in Dance was higher than those in other art forms, while the proportion of Local Production in Variety Show was higher than those in other art forms.

45 Figure 3.4 Number of Productions by Local/non-local Nature by Art Form

1,400

1,137 1,200 1,119

1,000

800 Number of Productions 600 464

400

197 200 133

0 XIqu Music Theatre Dance Variety Show Art Form Local Visiting Mixed

Number of Productions Xiqu Music Theatre Dance Variety Show Sub-total and Percentage

1,010 958 414 162 121 2,665 Local 88.8% 86% 89.2% 82% 91% 87%

122 135 49 35 10 351 Visiting 10.7% 12% 10.6% 18% 8% 12%

5 26 1 2 34 – Mixed 0.4% 3% 0.2% 2% 1%

1,137 1,119 464 197 133 3,050 Sub-total 100% 100% 100% 100% 100% 100%

46 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.5 Distribution of Performances by Local/non-local Nature

Visiting Mixed 10.6% 0.8% Local/non-local Number of Percentage Nature Performances

Local 5,112 88.7% 5,766 Visiting 610 10.6% performances Mixed 44 0.8%

Sub-total 5,766 100%

Local 88.7%

Similar results were found when compared to the distribution of performance numbers with the production numbers.

Figure 3.6 showed the performance numbers tabulated by local/non-local nature in each art form. The sequence of the highest number of performances was different with that of the highest number of productions (refer to Figure 3.4 and Figure 3.6). The highest performance number was Music, followed by Theatre.

Analysed different types of performances among the art forms, Theatre had the highest proportion of Local performance. Variety Show had the lowest proportion of Local performances but its proportion of Visiting performances was the highest.

Compared the average number of performances per programme among the art forms, Xiqu had a closer average numbers of performances per Local Production and per Visiting Production, 1.17 performances and 1.18 performances respectively. The difference of these average numbers was the smallest in the four art forms. Local Theatre production had the highest average number of performances per programme.

Details on the local/non-local programmes in each art genre refer to Chapter IV.

47 Figure 3.6 Number of Performances by Local/non-local Nature by Art Form

2,400

1,965

2,000 1,857

1,600

Number of 1,334 Performances 1,200

800

429

400 181

0 Music Theatre Xiqu Dance Variety Show

Art Form

Local Visiting Mixed

Number of Performances Music Theatre Xiqu Dance Variety Show Sub-total and Percentage

1,731 1,692 1,185 366 138 5,112 Local 88% 91.1% 88.8% 85% 76% 88.7%

201 161 144 63 41 610 Visiting 10% 8.7% 10.8% 15% 23% 10.6%

33 4 5 2 44 Mixed – 2% 0.2% 0.4% 1% 0.8%

1,965 1,857 1,334 429 181 5,766 Sub-total 100% 100% 100% 100% 100% 100%

48 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.7 Number of Productions by Month by Art Form

400

343 350

287 285 300

256 258 248 249 246 235 250 250

Number of 192 201 Productions 200

150

100

4/2007 5/2007 6/2007 7/2007 8/2007 9/2007 1/2008 2/2008 3/2008 10/2007 11/2007 12/2007 Month

Dance Theatre Music Xiqu Variety Show

49 Number of Productions Sub- 4/2007 5/2007 6/2007 7/2007 8/2007 9/2007 10/2007 11/2007 12/2007 1/2008 2/2008 3/2008 and total Percentage

88 99 113 83 103 114 97 92 77 89 80 102 1,137 Xiqu 46% 29% 46% 34% 40% 40% 38% 32% 31% 38% 40% 41% 37%

47 155 63 80 78 103 105 129 108 83 79 89 1,119 Music 24% 45% 25% 33% 30% 36% 41% 45% 43% 35% 39% 36% 37%

38 60 41 45 43 35 33 30 42 39 24 34 464 Theatre 20% 17% 17% 18% 17% 12% 13% 11% 17% 17% 12% 14% 15%

13 14 16 14 16 21 15 26 13 17 11 21 197 Dance 7% 4% 6% 6% 6% 7% 6% 9% 5% 7% 5% 8% 7%

Variety 6 15 15 24 16 14 8 8 9 7 7 4 133 Show 3% 4% 6% 10% 6% 5% 3% 3% 4% 3% 3% 2% 4%

Sub- 192 343 248 246 256 287 258 285 249 235 201 250 3,050 total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 3,050 productions tabulated by month in Figure 3.7, the number of productions presented in May (343 programmes) was the highest, accounting for 11.2% of all programmes, followed by September (287 programmes, accounting for 9.4%) and November (285 programmes, 9.3%).

Compared among the art forms, the highest numbers in Music productions and in Theatre productions (155 and 60 programmes respectively) were found in May. Xiqu productions had the highest record (114 programmes) in September. Dance productions had the highest record (26 programmes) in December. Variety Show had the highest production number (24 programmes) in July.

50 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.8 Number of Performances by Month by Art Form

700 640

591 607 600 546

477 500

432 440 439 433 411 403 400 347 Number of Performances 300

200

100

4/2007 5/2007 6/2007 7/2007 8/2007 9/2007 1/2008 2/2008 3/2008 10/2007 11/2007 12/2007 Month

Dance Theatre Music Xiqu Variety Show

51 Number of Performances Sub- 4/2007 5/2007 6/2007 7/2007 8/2007 9/2007 10/2007 11/2007 12/2007 1/2008 2/2008 3/2008 and total Percentage

57 169 107 97 90 127 118 288 286 112 200 314 1,965 Music 16% 31% 25% 24% 20% 29% 29% 49% 45% 23% 46% 51.7% 34%

149 197 152 160 166 122 146 134 197 189 103 142 1,857 Theatre 43% 36% 35% 39% 38% 28% 36% 23% 31% 40% 24% 23.4% 32%

104 122 131 98 127 130 109 107 94 106 95 111 1,334 Xiqu 30% 22% 30% 24% 29% 30% 27% 18% 15% 22% 22% 18.3% 23%

28 42 26 23 36 38 22 50 38 63 27 36 429 Dance 8% 8% 6% 6% 8% 9% 5% 8% 6% 13% 6% 5.9% 7%

Variety 9 16 16 33 21 22 8 12 25 7 8 4 181 Show 3% 3% 4% 8% 5% 5% 2% 2% 4% 1% 2% 0.7% 3%

Sub- 347 546 432 411 440 439 403 591 640 477 433 607 5,766 total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Overall, the highest number of performances was found in December (640) which accounted for 11.1% of the 5,766 performances, followed by March (607 performances, accounting for 10.5%) and November (591 performances, accounting for 10.2%). In May, there were 546 performances recorded. Among the top three months, Music performances contributed at least 45% of their respective monthly shares.

Compared the average performance numbers per programme among the four art forms, Xiqu performances ranged from 1.09 to 1.23 had the least variation, indicated that the monthly average numbers were very similar.

Music performances ranged from 1.09 to 3.53 had the greatest variation among the four art forms, indicated that the monthly average numbers of performances varied months to months. More attention should be paid when data were further tabulated within the art genres of Music productions (such as variations between Opera and Chinese Music).

Details of monthly distribution among each art genre refer to Chapter IV.

52 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.9 Distribution of Performances by Admission Nature

Free 29.4%

Admission Number of Percentage Nature Performances

Paid 3,772 70.6% 5,344 performances* Free 1,572 29.4%

Sub-total 5,344* 100% Paid 70.6%

* There were 2 out of the total 5,346 public performances that could not be classified due to lack of detailed information.

Event calendars clearly listed out the specific time and date of each performance, as well as its admission fee and the nature of the event. In reviewing the admission nature of the performances, only public performances were taken into account in the Survey.

According to the data, 273 out of the 5,766 performances were not counted due to lack of detailed information. Of the 5,493 performances on records, 5,346 were public performances which accounted over 90% of the total number of performances (5,766). The chart above indicated that paid performances accounted for 71% of the total public performances.

Figure 3.10 showed the number of public performances by admission nature among various art forms.

Compared with the art forms, most of the public performances in Theatre productions were paid, while nearly half of Music performances were free.

Details of the admission nature among each art genre refer to Chapter IV.

53 Figure 3.10 Number of Performances by Admission Nature by Art Form

2,000

1,812 1,782

1,600

1,212 1,200

Number of Performances

800

389 400

149

0 Music Theatre Xiqu Dance Variety Show Art Form

Free Paid

Number of Performances Music Theatre Xiqu Dance Variety Show Sub-total and Percentage

900 46 495 79 52 1,572 Free 50% 3% 41% 20% 35% 29%

912 1,736 717 310 97 3,772 Paid 50% 97% 59% 80% 65% 71%

1,812 1,782 1,212 389 149 5,344* Sub-total 100% 100% 100% 100% 100% 100%

* There were 2 out of the total 5,346 public performances that could not be classified due to lack of detailed information.

54 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.11 Distribution of Performances by Top Price Ticket

Above $420 $351-$420 314 205 5.9% $281-$350 3.8% 368 Free 6.9% 1,572 29.4% $211-$280 585 10.9% 5,344 performances*

$141-$210 749 14% $1-$70 553 10.3% $71-$140 998 18.7%

* There were 2 out of the total 5,346 public performances that could not be classified due to lack of detailed information.

Event calendars clearly listed out the specific time and date of each performance, as well as ticket prices. In reviewing the top price tickets, only full price tickets of public performances were taken into account in the Survey, whereas concession tickets were not counted.

Among the top price tickets of the 5,346 public performances, paid performances accounted for approximately 70% after eliminating 2 performances that could not be classified due to lack of detailed records.

Among the paid performances, the common range fell within the HK$71-$140 segment, accounting for 19% of the 5,346 public performances. Of the 998 performances in this price range, 64% offered only one ticket price.

Figure 3.12 showed the number of performances in each art form categorized by their respective top price ticket.

55 Figure 3.12 Number of Performances by Top Price Ticket by Art Form

2,000

1,812 1,782 1,800

1,600

1,400 1,212 1,200

1,000 Number of Performances 800

600

389 400

149 200

0 Music Theatre Xiqu Dance Variety Show

Art Form

Free $1-$70 $71-$140 $141-$210

$211-$280 $281-$350 $351-$420 Above $420

56 Hong Kong Annual Arts Survey 2007/08 Art Form

Number of Performances Music Theatre Xiqu Dance Variety Show Sub-total and Percentage

900 46 495 79 52 1,572 Free 50% 3% 40.8% 20% 35% 29%

251 171 68 29 34 553 $1-$70 14% 10% 5.6% 7% 23% 10%

229 515 144 90 20 998 $71-$140 13% 29% 11.9% 23% 13% 19%

147 399 122 75 6 749 $141-$210 8% 22% 10.1% 19% 4% 14%

110 272 167 31 5 585 $211-$280 6% 15% 13.8% 8% 3% 11%

53 92 179 35 9 368 $281-$350 3% 5% 14.8% 9% 6% 7%

50 142 3 8 2 205 $351-$420 3% 8% 0.2% 2% 1% 4%

Above 72 145 34 42 21 314 $420 4% 8% 2.8% 11% 14% 6%

1,812 1,782 1,212 389 149 5,344* Sub-total 100% 100% 100% 100% 100% 100%

* There were 2 out of the total 5,346 public performances that could not be classified due to lack of detailed information.

With the 5,346 public performances tabulated by top price tickets, and excluding those 2 performances that could not be classified due to lack of detailed records, Xiqu had the highest number of performances falling into the HK$281-350 category.

Performances at “Above HK$420” segment accounted for 6% (314 of the total public performances), among which Theatre constituted the highest number at 145. But such Theatre performances only accounted for 8.1% of the overall public Theatre performances.

Taking a glance at the specific ticket price ranges of performance in each art form, Variety Show had the highest proportion priced at “Above HK$420” (accounting for 14% of the 149 Variety Show performances), followed by Dance (accounting for 11% of the 389 Dance performances).

57 Figure 3.13 Average Top Price Ticket in Each Art Form

Dance $235.9

Xiqu $231.8

Art Form Variety Show $219.5

Theatre $213.9

Music $194.7

$0.0 $50.0 $100.0 $150.0 $200.0 $250.0 Average Highest Price (HK$)

* There were 2 out of the total 5,346 public performances that could not be classified due to lack of detailed information.

Compared the average price of the public performances measured by the top price ticket in each art form, i.e. the average price of the 3,774 paid public performances after deducting 1,572 free performances out of the total 5,346 public performances, Dance performance, with an average price of HK$235.9 in its 310 paid public performances.

Next in order was Xiqu, with the 717 paid public performances averaged at HK$231.8, followed by Variety Show with the 97 paid public performances averaged at HK$219.5, Theatre with the 1,736 paid public performances averaged at HK$213.9, and Music with the 912 paid public performances averaged at HK$194.7.

Variations on the average price among each art genre were shown in Chapter IV.

58 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.14 Distribution of Productions by Source of Funding

Source of Number of Percentage Funding Productions Administrative Grant 6.6% Administrative 200# 6.6% Grant Project Grant 24.6%

Project Grant 748## 24.6% Rental Subsidy 43.1% Rental Subsidy 1,312 43.1% Other Funds 25.8% Other Funds 784 25.8%

Sub-total 3,044* 100%

* There were 6 out of the total 3,050 productions that could not be classified due to lack of detailed records. # Around 37% of the 200 productions supported by Administrative Grant also received other funding from the government. ## Around 12% of the 748 productions sponsored by Project Grant also received other funding from the government

LCSD also contributed to this study by providing information on individual programme that had received rental subsidy/sponsorship, and thus helped to understand the proportions of programmes in terms of different sources of funding in each art form. Therefore, all of the programmes listed on the event calendars can be classified into four types of funding sources: Administrative Grant, Project Grant, Rental Subsidy, and Other Funds.

Administrative Grant refers to programmes presented/produced by the ten performing arts groups which are directly subvented by the Home Affairs Bureau, and the arts groups which received One- year Grant from ADC. Those funding mainly support the operation of the arts groups and part of their presenting/producing programmes.

Project Grant refers to programmes presented/sponsored by LCSD, and/or those receiving subvention from the Cantonese Opera Development Fund and/or ADC’s Project Grants, as well as programmes presented/co-presented by other governmental departments/statutory bodies (e.g., Education Bureau, District Council etc.), and those presented/produced by Hong Kong Academy for Performing Arts, and Hong Kong Arts Festival.

Rental Subsidy refers to programmes which were covered by the Rental Subsidy Scheme or Hire Charge Reduction Scheme or any venue sponsorship from LCSD.

Other Funds refers to the programmes that did not receive any of the above public funding/subsidy. However, they may receive funding from various foundations or non-governmental bodies.

From Figure 3.14, over 70% of the total 3,050 productions in 2007/08 received some sort of government funding, the most of which were Rental Subsidy Productions. Other Funds accounted for 25.8% of the total productions.

59 Among the 200 productions supported by Administrative Grant, 37% of them received different subsidies/sponsorship from government at the same time. For example, they were programmes of arts groups receiving ADC’s One-Year Grant and presented/sponsored by LCSD, or simultaneously receiving venue subsidy from LCSD, and/or subsidized by Cantonese Opera Development Fund.

Among the 748 programmes under Project Grant, 12% of them also received different subsidies/ sponsorship from government. For examples, they were sponsored by ADC’s Project Grants and/or Cantonese Opera Development Fund, or they were sponsored by Cantonese Opera Development Fund and receiving Rental Subsidy from LCSD, or they were sponsored by ADC and receiving Rental Subsidy from LCSD, or they were presented/co-presented by governmental departments/statutory bodies and receiving Rental Subsidy from LCSD.

Figure 3.15 compared the different sources of funding in different art forms, it indicated that a higher proportion of Theatre programmes belonged to the category of Other Funds, while most of the programmes in other art forms received Rental Subsidy.

60 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.15 Number of Productions by Source of Funding by Art Form

Xiqu 1,136

Music 1,114

Art Form Theatre 464

Dance 197

Variety Show 133

0 200 400 600 800 1,000 1,200 Number of Productions

Administrative Grant Project Grant Rental Subsidy Other Funds

Number of Productions Xiqu Music Theatre Dance Variety Show Sub-total and Percentage Administrative 10 73 89 28 200# – Grant 0.9% 7% 19% 14% 7% 192 381 88 70 17 748## Project Grant 16.9% 34% 19% 36% 13% 25% Rental 614 431 132 66 69 1,312 Subsidy 54.0% 39% 28% 34% 52% 43% 320 229 155 33 47 784 Other Funds 28.2% 21% 33% 17% 35% 26% 1,136 1,114 464 197 133 3,044* Sub-total 100% 100% 100% 100% 100% 100%

* There were 6 out of the total of 3,050 productions that could not be classified due to lack of detailed records. # Around 37% of the 200 productions supported by Administrative Grant also received other funding from the government. ## Around 12% of the 748 productions sponsored by Project Grant also received other funding from the government.

61 Figure 3.16 Distribution of Performances by Source of Funding

Source of Number of Percentage Funding Productions Administrative 12.0% Grant Administrative 692# 12.0% Grant Project Grant 21.2%

Project Grant 1,222## 21.2% Rental Subsidy 38.4% Rental Subsidy 2,210 38.4% Other Funds 28.4% Other Funds 1,636 28.4%

Sub-total 5,760* 100%

* There were 6 out of the total of 5,766 performances that could not be classified due to lack of detailed records. # Around 35% of the 692 performances supported by Administrative Grant also received other funding from the government. ## Around 12% of the 1,222 performances sponsored by Project Grant also received other funding from the government.

Compared Figure 3.14 and Figure 3.16, the percentage of performances supported by Administrative Grant was higher than that of the productions. Also, the percentage of performances funded by Rental Subsidy was lower than that of the productions.

Figure 3.14 showed that 6.6% of the total productions were supported by Administrative Grant, while the chart above indicated that 12% of the total performances were supported by the same funding source.

With regard to Rental Subsidy, Figure 3.14 showed that 43.2% of the total productions received Rental Subsidy, while the chart above indicated that 38.4% of the total performances received the same funding source.

Among the 692 performances supported by Administrative Grant, 35% of them received different subsidies/sponsorship from government at the same time. For example, the ADC’s One-year Grant programmes also presented/sponsored by LCSD, or received venue subsidy from LCSD, and/or subsidized by Cantonese Opera Development Fund.

Among the 1,222 performances funded by Project Grant, 12% of them also received different subsidies/sponsorship from government. For example, they were sponsored by ADC and Cantonese Opera Development Fund, or they were sponsored by Cantonese Opera Development Fund and receiving Rental Subsidy from LCSD, or they were sponsored by ADC and received Rental Subsidy from LCSD, or they were presented/co-presented by governmental departments/statutory bodies and received Rental Subsidy from LCSD.

62 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.17 Number of Performances by Source of Funding in Each Art Form

Music 1,960

Theatre 1,857

Art Form Xiqu 1,333

Dance 429

Variety Show 181

0 400 800 1,200 1,600 2,000 2,400 Number of Performances

Administrative Grant Project Grant Rental Subsidy Other Funds

63 Number of Performances Variety Music Theatre Xiqu Dance Sub-total and Show Percentage

Administrative 121 469 12 90 692# – Grant 6% 25% 0.9% 21% 12%

Project 465 355 231 142 29 1,222## Grant 24% 19% 17.3% 33% 16% 21%

Rental 829 432 736 131 82 2,210 Subsidy 42% 23% 55.2% 31% 45% 38%

Other 545 601 354 66 70 1,636 Funds 28% 32% 26.6% 15% 39% 28%

1,960 1,857 1,333 429 181 5,760* Sub-total 100% 100% 100% 100% 100% 100%

* There were 6 out of the total 5,766 performance that could not be classified due to lack of detailed records. # Around 35% of the 692 performances supported by Administrative Grant also received other funding from the government. ## Around 12% of the 1,222 performances sponsored by Project Grant also received other funding from the government.

Figure 3.17 indicated the distribution of performance numbers by sources of funding in each art form. Of the Administrative Grant category, Theatre recorded the largest number. Compared the proportion of performances in each art form, 25% of the total Theatre performances supported by Administrative Grant was the highest percentage among the art forms that received the same type of funding source.

Of the Project Grant category, Music had the highest number of performances among the art forms. But in terms of proportion of performances among each art form, Dance had a higher percentage (33%).

Of the Rental Subsidy category, Music again had the highest number of performances among the art forms. But in terms of proportion of performances among each art form, Xiqu performances had a higher percentage at 55.2%.

Of the Other Funds category, Theatre had the highest number of performances among the art forms. But in terms of proportion of performances within each art form, Variety Show had the highest percentage.

Details on sources of funding among each art genre refer to Chapter IV.

64 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.18 Distribution of Productions Presented/produced by Educational Institutions by Source of Funding

Source of Number of Percentage Funding Productions Project Grant 66.8%

Project Grant 217 66.8%

Rental 23.4% 76 23.4% Rental Subsidy Subsidy

Other Funds 32 9.8% Other Funds 9.8% Sub-total 325 100%

Based on the classification of the presentation/production organizations, it is possible to select the programmes presented/produced by the educational institutions for understanding the specific art scene.

Data in 2007/08 indicated that there were 88 presentation/production units belonged to educational institutions, which included the arts societies/groups such as theatre societies and choral groups of all primary and secondary schools, kindergartens, school sponsoring bodies, the Hong Kong Academy for Performing Arts, colleges, universities, and inter-school/educational associations. The chart above showed that a total of 325 productions were presented/produced by the educational institutions, which was around one tenth of the total 3,050 productions in 2007/08, with the majority productions under the Project Grant.

Of the 217 productions funded by Project Grant, 96 % were presented/produced by the Hong Kong Academy for Performing Arts.

With the production presented/produced by the educational institutions tabulated by funding sources in each art form, Figure 3.19 indicated that the majority was Music productions which accounted for 78% of the total 325 programmes.

65 Figure 3.19 Number of Productions Presented/produced by Educational Institutions by Source of Funding by Art Form

Music 253

Theatre 37

Art Form Dance 13

Variety Show 12

Xiqu 10

0 50 100 150 200 250 300 Number of Productions

Project Grant Rental Subsidy Other Funds

Number of Productions Music Theatre Dance Variety Show Xiqu Sub-total and Percentage 193 12 3 9 217 Project Grant – 76% 32% 23% 90% 67% 43 16 9 7 1 76 Rental Subsidy 17% 43% 69% 58% 10% 23% 17 9 1 5 32 Other Funds – 7% 24% 8% 42% 10% 253 37 13 12 10 325 Sub-total 100% 100% 100% 100% 100% 100%

66 Hong Kong Annual Arts Survey 2007/08 Art Form

Figure 3.20 Distribution of Performances Presented/produced by Educational Institutions by Source of Funding

Source of Number of Percentage Funding Performances Project Grant 28.4%

Project 313 28.4% Grant Rental Subsidy 43.0% Rental 474 43.0% Subsidy

Other 28.6% 316 28.6% Other Funds Funds

Sub-total 1,103 100%

According to the data showed, a total of 1,103 performances from the 325 productions were presented/produced by the educational institutions, accounting for 19% of the total number of performances in 2007/08. Overall, performances receiving Rental Subsidy had the highest record (refer to the chart above).

In terms of proportion of performances tabulated by funding sources, there were 28% of the performances receiving Project Grant. But data in Figure 3.18 showed that 67% of the productions receiving Project Grant. Overall, the performances put on by Hong Kong Academy for Performing Arts accounted for 98% of all Project Grant performances.

Figure 3.21 indicated that, among both the Music performances and Dance performances presented/produced by the educational institutions, a higher proportion was recorded in the Rental Subsidy than other categories. Among both the Theatre performances and Xiqu performances, a higher proportion was recorded in Project Grant than other categories.

Details on the Music programmes presented/produced by the educational institutions refer to the Music section in Chapter IV.

67 Figure 3.21 Number of Performances Presented/produced by Educational Institutions by Source of Funding by Art Form

907 Music

114 Theatre

56 Art Form Dance

Variety Show 14

12 Xiqu

0 200 400 600 800 1,000 Number of Performances Project Grant Rental Subsidy Other Funds

Number of Performances Music Theatre Dance Variety Show Xiqu Sub-total and Percentage

235 56 11 11 313 Project Grant – 26% 49% 20% 92% 28%

382 38 44 9 1 474 Rental Subsidy 42% 33% 79% 64% 8% 43%

290 20 1 5 316 Other Funds – 32% 18% 2% 36% 29%

907 114 56 14 12 1,103 Sub-total 100% 100% 100% 100% 100% 100%

68 Hong Kong Annual Arts Survey 2007/08 Dance

4. Number of 4.1 Dance Productions and Figure 4.1.1 Distribution of Dance Productions Performances in Each Art Combined Ballet 33 42 Form 16.8% 21.3%

Competition 28 14.2% 197 Dance productions

Foreign Folk Dance 17 8.6% Modern Dance Chinese Dance 59 18 29.9% 9.1%

The art genres of Dance include Ballet, Modern Dance, Chinese Dance, Foreign Folk Dance, Competition and Combined. “Competition” includes award presentation ceremonies. “Combined” refers to any programme consisting of performances with two or more aforementioned art genres (such as Ballet and Foreign Folk Dance). In case a programme could not be classified due to insufficient information (e.g., “Dance Performance 2007”), it would be classified as a Combined programme.

As to “Swan Lake On Ice by The Imperial Ice Stars” and “Shaolin in the Wind” in 2007/08, and the acrobatic ballet opera during the International Arts Carnival, these programmes involved Dance and other forms of performances (such as skating, martial arts, acrobatics). They were, therefore, classified as “Variety Show”, a category in addition to the four major art forms (Dance, Theatre, Music and Xiqu).

According to the statistics, a total of 197 Dance programmes were staged at 25 venues in the 17 Performance Facilities13, accounting for 6.5% of all performing arts programmes (3,050) in 2007/08. Figure 4.1.1 showed that the top three art genres of Dance in terms of number of productions were Modern Dance (accounting for 29.9% of all Dance programmes), Ballet (21.3%) and Combined (16.8%).

13 Among the 34 performing arts venues, no Dance programme was staged in the following venues during the year: Hall 1 and 2 of Sunbeam Theatre, Recital Hall and Studio Theatre of HKAPA, Agnès b Cinema of Hong Kong Arts Centre, Concert Hall of the Hong Kong Cultural Centre, Cultural Activities Halls at the Sai Wan Ho Civil Centre, the Tuen Mun Town Hall, and the Tsuen Wan Town Hall.

69 Figure 4.1.2 Distribution of Dance Performances

Combined 41 9.6% Ballet 92 21.4%

Competition 95 22.1%

429 Dance performances

Foreign Folk Dance 29 6.8% Modern Dance Chinese 136 Dance 31.7% 36 8.4%

According to the statistics, a total of 429 performances from the 197 Dance programmes were staged in 2007/08, accounting for 7.4% of the total number of performances (5,766). On average, each Dance programme staged 2.2 performances.

Figure 4.1.2 indicated that the top three art genres measured by the performance numbers were Modern Dance (accounting for 31.7% of all Dance performances), Competition (accounting for 22.1% of all Dance performances) and Ballet (accounting 21.4% of all Dance performances), an order slightly different from that in terms of production numbers.

Compared with the average number of performances per programme among the different genres of Dance, it was found that Competition had the highest average number of performances (3.4 performances per programme), followed by Modern Dance (2.3 performances per programme), Ballet (2.2 performances per programme), Chinese Dance (2 performances per programme), Foreign Folk Dance (1.7 performances per programme) and Combined (1.2 performances per programme).

According to the data from the venue operators, a total of 502 Dance performances were put on at 26 performing arts venues in the 17 Performance Facilities in 2007/08, of which 73 performances were additional staged14.

14 An extra venue staging additional Dance performances were recorded by the venue operators, which were not showed in the event calendars.

70 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.3 Distribution of Dance Productions by Local/non-local Nature

Visiting 17.8%

Local/non-local Number of Percentage Nature Productions

Local 162 82.2% 197 Dance productions Visiting 35 17.8%

Sub-total 197 100%

Local 82.2%

With reference to the names of productions and organizations listed in the event calendars, it was able to classify most of the programmes into Local Production, Visiting Production and Mixed Production15.

From the chart above, there was no record of any Mixed Production among the 197 Dance programmes staged at the 25 venues in the 17 Performance Facilities, and the number of Local Productions (82% of all Dance programmes) was higher than that of Visiting Productions (18%).

Figure 4.1.4 indicated the proportion of programme numbers by local/non-local nature within different genres of Dance. Over 80% of the Modern Dance was Local Productions, which was the highest among the art genres, followed by Ballet, with Local Productions over 70%. Among the art genres, both Competition and Combined had Local Productions only.

Within Foreign Folk Dance category, nearly 30% were Local Productions.

15 Local Production refers to any programme that is entirely performed by a local group(s). Visiting Production refers to any programme that is entirely performed by a non-local group(s). Mixed Production refers to any programme that is performed by both local group(s) and non-local group(s). Classification is based on the presentation/production organization, not individual artist participated in a production.

71 Figure 4.1.4 Number of Dance Productions by Local/non-local Nature

59 60

40 Number of 33 Productions 28 30

18 17 20

Ballet Modern Dance ChineseDance Dance Combined Competition Foreign Folk Art Genres of Dance Local Visiting

Number of Modern Chinese Foreign Folk Productions & Ballet Combined Competition Sub-total Dance Dance Dance Percentage

52 32 33 28 12 5 162 Local 88% 76% 100% 100% 67% 29% 82%

7 10 6 12 35 Visiting –– 12% 24% 33% 71% 18%

59 42 33 28 18 17 197 Sub-total 100% 100% 100% 100% 100% 100% 100%

72 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.5 Distribution of Dance Performances by Local/non-local Nature

Visiting 14.7%

Local/non-local Number of Percentage Nature Performances

Local 366 85.3% 429 Dance Visiting 63 14.7% performances Sub-total 429 100%

Local 85.3%

Similar results were found when compared to the distribution of the 429 performances with the 197 productions.

Through comparison of the average number of performances per programme between Local Productions and Visiting Productions, it was found that Local Dance programmes recorded a higher average number of performances. On average, each Local Dance programme staged 2.3 performances while each Visiting Dance programme staged 1.8 performances.

Figure 4.1.6 showed that over 80% of the 429 Dance performances staged at the 25 venues were Local performances, of which constituted by Modern Dance, Chinese Dance and Ballet. Both Competition and Combined were purely Local performances.

73 Figure 4.1.6 Number of Dance Performances by Local/non-local Nature

160

136 140

120

95 92 100

Number of 80 Performances

41 36 40 29

Ballet Modern Chinese Dance Dance Dance Combined Competition Foreign Folk Art Genres of Dance Local Visiting

Number of Modern Chinese Foreign Folk Performances Competition Ballet Combined Sub-total Dance Dance Dance & Percentage

118 95 74 41 30 8 366 Local 87% 100% 80% 100% 83% 28% 85%

18 18 6 21 63 Visiting – – 13% 20% 17% 72% 15%

136 95 92 41 36 29 429 Sub-total 100% 100% 100% 100% 100% 100% 100%

74 Hong Kong Annual Arts Survey 2007/08 Dance

Compared the average number of performances per local/visiting productions among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance, Table 4.1.1 indicated that Chinese Dance recorded the highest average number of performances (2.5 performances) within the Local category, while Foreign Folk Dance recorded the lowest (1.6 performances). Within the Visiting category, Modern Dance recorded the highest average number of performances (2.6 performances) while Chinese Dance recorded the lowest (1 performance).

Table 4.1.1 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Local/Visiting Segment among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance Modern Dance Average Number of Number of Performances per Productions Performances Production Local 52 118 2.3 Visiting 7 18 2.6

Ballet Average Number of Number of Performances per Productions Performances Production Local 32 74 2.3 Visiting 10 18 1.8

Chinese Dance Average Number of Number of Performances per Productions Performances Production Local 12 30 2.5 Visiting 6 6 1

Foreign Folk Dance Average Number of Number of Performances per Productions Performances Production Local 5 8 1.6 Visiting 12 21 1.8

75 Figure 4.1.7 Number of Dance Productions by Month

21 21

17 16 16 14 14 15 Number of 15 Productions 13 13

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08

Month

Ballet Modern Dance Chinese Dance

Foreign Folk Dance Competition Combined

76 Hong Kong Annual Arts Survey 2007/08 Dance

Number of Sub- Productions and Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Percentage

4 5 5 4 2 4 7 10 3 4 5 6 59 Modern Dance 31% 36% 31% 29% 13% 19% 47% 38% 23% 24% 45% 29% 30%

1 2 5 3 7 5 1 6 1 5 2 4 42 Ballet 8% 14% 31% 21% 44% 24% 7% 23% 8% 29% 18% 19% 21%

2 5 2 3 5 5 3 1 3 2 2 33 – Combined 15% 36% 13% 21% 31% 24% 20% 4% 23% 12% 10% 17%

2 1 1 2 2 2 1 3 3 5 4 2 28 Competition 15% 7% 6% 14% 13% 10% 7% 12% 23% 29% 36% 10% 14%

Chinese 1 3 2 3 1 2 1 1 4 18 – – – Dance 7% 19% 14% 14% 7% 8% 8% 6% 19% 9%

Foreign 4 2 2 4 2 3 17 Folk –––– –– 31% 10% 13% 15% 15% 14% 9% Dance

13 14 16 14 16 21 15 26 13 17 11 21 197 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 197 Dance productions tabulated by month, the top three months were November (26 programmes accounting for 13% of the total Dance productions), followed by September and March (each had 21 programmes accounting for 11% of the total Dance productions).

From the chart showed, the higher numbers of Foreign Folk Dance productions were staged in both April and November (4 programmes in each month), while the highest number of Modern Dance productions was also staged in November. In other words, the public enjoyed more Dance programme choices in November.

The highest number of Ballet productions was staged in August, the highest number of Chinese Dance productions was found in March, and the higher numbers of Combined productions were recorded in both August and September (5 programmes in each month).

77 Figure 4.1.8 Number of Dance Performances by Month

50 50

42 38 38 40 36 36 Number of Performances 28 27 30 26

23 22 20

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08

Month

Ballet Modern Dance Chinese Dance

Foreign Folk Dance Competition Combined

78 Hong Kong Annual Arts Survey 2007/08 Dance

Number of Sub- Performances Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total and Percentage

7 22 11 9 4 10 10 21 9 13 7 13 136 Modern Dance 25% 52% 42% 39% 11% 26% 45% 42% 24% 21% 26% 36% 32%

13 5 1 2 10 2 1 6 3 37 13 2 95 Competition 46% 12% 4% 9% 28% 5% 5% 12% 8% 59% 48% 6% 22%

2 7 7 3 15 7 2 12 15 8 7 7 92 Ballet 7% 17% 27% 13% 42% 18% 9% 24% 39% 13% 26% 19% 21%

2 5 4 3 7 5 4 1 5 2 3 41 Combined – 7% 12% 15% 13% 19% 13% 18% 2% 13% 3% 8% 10%

3 3 6 11 1 4 1 3 4 36 Chinese Dance – – – 7% 12% 26% 29% 5% 8% 3% 5% 11% 8%

Foreign Folk 4 3 4 6 5 7 29 –––– –– Dance 14% 8% 18% 12% 13% 19% 7%

28 42 26 23 36 38 22 50 38 63 27 36 429 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 429 Dance performances tabulated by month, the top three months were found in January (63 performances accounting for 15% of all Dance performances), followed by November (50 performances accounting for 12%) and May (42 performances accounting for 10%). While the sequence of the months by highest performance number was different from that by highest production number, November was the only month with higher numbers of both programmes and performances in record.

Compared among the Dance categories, both Ballet and Combined had the highest performance number in August, while Modern Dance had the highest number in May, Chinese Dance in September, and Foreign Folk Dance in March. Dance competitions were spiked in January.

Compared the average number of performances per production among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance, Table 4.1.2 indicated that Modern Dance had the highest record in May (4.4 performances per programme). Ballet had only one programme in December but performed 15 times. With this peculiar case excluded, Ballet had a higher record in both February and May (3.5 performances per programme in each of these month). Chinese Dance had the highest record in September (3.7 performances per programme) and Foreign Folk Dance in December (2.5 performances per programme).

79 Table 4.1.2 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Programme Tabulated by Month among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance Modern Dance Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 455424710345659 Productions Number of 7221194101021913713136 Performances Average Performances 1.8 4.4 2.2 2.3 2.0 2.5 1.4 2.1 3.0 3.3 1.4 2.2 2.3 per Production Ballet Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 12537516152442 Productions Number of 2 7 7 3 15 7 2 12 15 8 7 7 92 Performances Average Performances 2.0 3.5 1.4 1.0 2.1 1.4 2.0 2.0 15.0 1.6 3.5 1.8 2.2 per Production Chinese Dance Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of –132–31211–418 Productions Number of –336–111413–436 Performances Average Performances – 3.0 1.0 3.0 – 3.7 1.0 2.0 1.0 3.0 – 1.0 2.0 per Production Foreign Folk Dance Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 4––––2242––317 Productions Number of 4––––3465––729 Performances Average Performances 1.0 – – – – 1.5 2.0 1.5 2.5 – – 2.3 1.7 per Production

80 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.9 Distribution of Dance Performances by Admission Nature

Free 20.3%

Admission Number of Percentage Nature Performances 389 Dance Paid 310 79.7% performances Free 79 20.3%

Sub-total 389 100% Paid 79.7%

Event calendars clearly listed out the specific time and date of each performance, as well as its admission fee and the nature of event. In reviewing the admission nature of performances, only public performances were taken into account in the Survey.

According to the data, 4 out of the 429 Dance performances were not counted due to lack of detailed information. Of the 425 on record, around 92% was public performances. The above chart showed that 80% of these public performances (389) were paid.

Figure 4.1.10 indicated the distribution of performances measured by the admission nature in Dance categories. It showed that the vast majority of public performances in Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance were paid performances.

81 Figure 4.1.10 Number of Dance Performances by Admission Nature

120 112

100 89 83 80

60 Number of Performances

40 36 40 29

Ballet Modern Dance ChineseDance Dance Combined Competition Foreign Folk Art Genres of Dance

Free Paid

Number of Modern Chinese Foreign Folk Performances & Competition Ballet Combined Sub-total Dance Dance Dance Percentage

1 68 2 6 1 1 79 Free 1% 76% 2% 15% 3% 3% 20%

111 21 81 34 35 28 310 Paid 99% 24% 98% 85% 97% 97% 80%

112 89 83 40 36 29 389 Sub-total 100% 100% 100% 100% 100% 100% 100%

82 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.11 Distribution of Dance Performances by Top Price Ticket

Above $420 42 $351-$420 10.8% 8 Free 2.1% 79 $281-$350 20.3% 35 9%

$211-$280 31 389 Dance 8% performances $1-$70 29 7.5%

$141-$210 75 19.3% $71-$140 90 23.1%

Among the top price tickets of the 389 public Dance performances, the common range fell within the HK$71-$140 segment, accounting for 23.1% of the total number of public Dance performances. Of the 90 performances in this price range, two thirds offered only one ticket price.

83 Figure 4.1.12 Number of Dance Performances by Top Price Ticket

120 112

100 89 83

Number of 60 Performances

40 36 40 29

Ballet Modern Chinese Dance Dance Dance Combined Competition Foreign Folk Art Genres of Dance

Free $1-$70 $71-$140 $141-$210

$211-$280 $281-$350 $351-$420 Above $420

84 Hong Kong Annual Arts Survey 2007/08 Dance

Number of Foreign Performances Modern Chinese Competition Ballet Combined Folk Sub-total and Dance Dance Dance Percentage

1 68 2 6 1 1 79 Free 1% 76% 2% 15% 3% 3% 20%

1 16 3 8 1 29 $1-$70 – 1% 18% 4% 20% 3% 8%

52 5 11 19 3 90 $71-$140 – 46% 6% 13% 48% 8% 23%

44 5 7 7 12 75 $141-$210 – 39% 6% 18% 19% 41% 19%

2 16 9 4 31 $211-$280 – – 2% 19% 25% 14% 8%

11 15 9 35 $281-$350 –– – 13% 42% 31% 9%

6 2 8 $351-$420 – ––– 5% 2% 2%

6 33 3 42 Above $420 – –– 5% 40% 10% 11%

112 89 83 40 36 29 389 Sub-total 100% 100% 100% 100% 100% 100% 100%

With the 389 public Dance performances tabulated by top price ticket, Ballet had 33 performances priced above HK$420, accounting for 40% of the total 83 public Ballet performances. It was the highest record among other genres in this price range. Of these 33 performances, 60% were Local Productions.

Modern Dance performances were spiked in the price range from HK$71 to HK$210, with more performances priced at HK$71-$140 category, accounting for 46% of all public performances of Modern Dance.

Of the Chinese Dance performances, around 40% were priced at HK$281-$350, while around 40% of Foreign Folk Dance performance were priced from HK$141 to HK$280.

85 Figure 4.1.13 Average Top Price Ticket in Dance Categories

Ballet $391.5

Foreign $267.1 Folk Dance

Chinese $243.7 Dance Arts Genres of Dance

Modern $185.0 Dance

Combined $104.0

Competition $63.6

$0$50 $100 $150 $200 $250 $300 $350 $400 $450 Average Highest Price (HK$)

There were 310 paid performances out of the 389 public Dance performances. The top price of Modern Dance tickets ranged from HK$40 to HK$1,000 with 2 performances sold at HK$1,000. Ballet tickets ranged from HK$40 to HK$800, Foreign Folk Dance from HK$150 to HK$460, Chinese Dance from HK$40 to HK$320, and Combined Dance from HK$30 to HK$200.

Compared the average price among these categories, Ballet recorded the highest average price of HK$391.5, followed by Foreign Folk Dance (around HK$267.1), Chinese Dance (around HK$243.7) and Modern Dance (around HK$185).

86 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.14 Distribution of Dance Productions by Source of Funding

Source of Number of Percentage Funding Productions Administrative Grant 14.2% Administrative 28# 14.2% Grant Project Grant 35.5%

Project Grant 70## 35.5% Rental Subsidy 33.5% Rental Subsidy 66 33.5% Other Funds 16.8% Other Funds 33 16.8%

Sub-total 197 100%

# Around 46% of the 28 productions supported by Administrative Grant also received other funding from government. ## Around 10% of the 70 productions sponsored by Project Grant also received other funding from government.

LCSD also contributed to this survey by providing information on programmes that had received rental subsidy/sponsorship, and thus helped to understand the programmes in each art form in terms of different sources of funding. Therefore, all of the programmes listed on the event calendars can be classified into four types of funding sources: Administrative Grant, Project Grant, Rental Subsidy, and Other Funds16.

Of the 197 Dance programmes, the number of Project Grant programmes was the highest in 2007/08 and closer to that of Rental Subsidy programmes under Project Grant, around 10% also received other funding/sponsorship from government. For example, they were sponsored by ADC’s Project Grants and receiving subsidies/sponsorship from LCSD, or they were presented or co- presented by governmental departments/statutory bodies and receiving subsidies/sponsorship from LCSD. Of the 28 Dance programmes supported by Administrative Grant, around 46% were also LCSD’s presentation/sponsorship programmes.

The educational units17 presented a total of 13 Dance programmes at the aforementioned venues, accounting for 6.6% of the total 197 Dance programmes, and most of them received Rental Subsidy.

16 Administrative Grant refers to programmes presented/produced by the ten performing arts groups which are directly subvented by the Home Affairs Bureau, and the arts groups which received One-year Grant from ADC. Those funding mainly support the operation of the arts groups and part of their presenting producing programmes. Project Grant refers to programmes presented/sponsored by LCSD, and/or those receiving subvention from the Cantonese Opera Development Fund and/or ADC’s Project Grants, as well as programmes presented/co- presented by other governmental departments/statutory bodies (e.g., Education Bureau, District Council etc.), and those presented/produced by Hong Kong Academy for Performing Arts, and Hong Kong Arts Festival. Rental Subsidy refers to programmes which were covered by the Rental Subsidy Scheme or Hire Charge Reduction Scheme or any venue sponsorship from LCSD. Other Funds refers to the programmes that did not receive any of the above public funding/subsidy. However, they may receive funding from various foundations or non- governmental bodies. 17 The educational units include the arts societies/groups such as the bands or choirs of all primary and secondary schools, kindergartens, school sponsoring bodies, the Hong Kong Academy for Performing Arts, colleges, universities, and inter-school/educational associations such as the Hong Kong Schools Music and Speech Association.

87 Figure 4.1.15 Number of Dance Productions by Source of Funding

Modern Dance 59

Ballet 42

Combined 33 Arts Genres of Dance Competition 28

Chinese Dance 18

Foreign Folk Dance 17

0 10203040506070 Number of Productions Administrative Grant Project Grant Rental Subsidy Other Funds

88 Hong Kong Annual Arts Survey 2007/08 Dance

Number of Modern Chinese Foreign Folk Productions Ballet Combined Competition Sub-total Dance Dance Dance and Percentage

Administrative 10 13 5 28# –– – Grant 17% 31% 28% 14%

27 10 2 12 7 12 70## Project Grant 46% 24% 6% 43% 39% 71% 36%

6 12 27 13 5 3 66 Rental Subsidy 10% 29% 82% 46% 28% 18% 34%

16 7 4 3 1 2 33 Other Funds 27% 17% 12% 11% 6% 12% 17%

59 42 33 28 18 17 197 Sub-total 100% 100% 100% 100% 100% 100% 100%

Compared the different sources of funding among the Dance categories, programmes of Modern Dance, Chinese Dance and Foreign Folk Dance all had a higher proportion in receiving Project Grant than other sources of funding.

Both Combined and Competition had a higher proportion of programmes in receiving Rental Subsidy than other sources of funding.

Of the 13 Dance programmes presented by the educational units, each of the Competition and Combined category had 5 programmes, Modern Dance had 2 programmes and Chinese Dance had 1 programme. In terms of sources of funding, 9 productions received Rental Subsidy, 3 productions received Project Grant, and 1 production supported by Other Funds. Of the Competition programmes, some of them received Rental Subsidy and some received Project Grant.

89 Figure 4.1.16 Distribution of Dance Performances by Source of Funding

Source of Number of Percentage Funding Performances Administrative Grant 21.0% Administrative 90# 21.0% Grant Project Grant 33.1% Project Grant 142## 33.1%

Rental Subsidy 131 30.5% Rental Subsidy 30.5%

Other Funds 66 15.4% Other Funds 15.4% Sub-total 429 100%

Compared the distribution of Dance performance numbers with the production numbers (refer to above chart and Figure 4.1.14), the percentage of performances receiving Administrative Grant (21%) was higher than that of productions (14.2%), while the percentage of performances receiving Project Grant (33.1%) was lower than that of productions (35.5%).

Of the 90 Dance performances funded by Administrative Grant, around 39% were also presented/ sponsored by the LCSD. Of the 142 performances funded by Project Grant, around 13% also received subsidies/sponsorship from the government. For example, they were sponsored by ADC’s Project Grants and received subsidies/sponsorship from LCSD, or they were presented or co- presented by governmental departments/statutory bodies and received subsidies/sponsorship from LCSD.

Compared the averaged performances per programme among the different sources of funding, performances receiving Administrative Grant staged 3.2 times for each production, while performances receiving other sources of funding staged 2 times for each production on the average.

Figure 4.1.17 indicated the distribution of the performance numbers tabulated by sources of funding within Dance categories. Over half of both Ballet and Chinese Dance performances were supported by Administrative Grant, while both Modern Dance and Foreign Folk Dance had a higher proportion of performances receiving Project Grant. Most Competition and Combined performances were supported by Rental Subsidy.

90 Hong Kong Annual Arts Survey 2007/08 Dance

Figure 4.1.17 Number of Dance Performances by Source of Funding

Modern Dance 136

Competition 95

Ballet 92 Arts Genres of Dance

Combined 41

Chinese Dance 36

Foreign Folk Dance 29

0 20 40 60 80 100 120 140 160 Number of Performances Administrative Grant Project Grant Rental Subsidy Other Funds

Number of Modern Chinese Foreign Folk Performances Competition Ballet Combined Sub-total Dance Dance Dance & Percentage

Administrative 20 49 21 90# – – – Grant 15% 53% 58% 21%

65 28 16 4 8 21 142## Project Grant 48% 29% 17% 10% 22% 72% 33%

8 64 17 31 6 5 131 Rental Subsidy 6% 67% 18% 76% 17% 17% 31%

43 3 10 6 1 3 66 Other Funds 32% 3% 11% 15% 3% 10% 15%

136 95 92 41 36 29 429 Sub-total 100% 100% 100% 100% 100% 100% 100%

# Around 39% of the 90 performances supported by Administrative Grant also received other funding from government. ## Around 13% of the 142 performances sponsored by Project Grant also received other funding from government. 91 Compared the average number of performances per production tabulated by different sources of funding among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance, Table 4.1.3 indicated that Chinese Dance programme funded by Administrative Grant had the highest average performances per production (4.2 performances).

In 2007/08, there were 56 performances from the 13 Dance programmes staged by educational units, accounting for 13% of the total 429 Dance performances. Of these 56 performances, Competition constituted the largest number at 44, followed by Modern Dance (6 performances), Combined (5 performances) and Chinese Dance (1 performance). Most of the Competition performances were supporting by Rental Subsidy. Dance performances receiving Project Grant and presented/produced by the Hong Kong Academy for Performing Arts accounted for around 7% of the total number of Dance performances.

Table 4.1.3 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Sources of funding among Modern Dance, Ballet, Chinese Dance and Foreign Folk Dance Modern Dance Number of Average Performances Number of Productions Performances per Production Administrative Grant 10 20 2.0 Project Grant 27 65 2.4 Rental Subsidy 6 8 1.3 Other Funds 16 43 2.7 Overall 59 136 2.3

Ballet Number of Average Performances Number of Productions Performances per Production Administrative Grant 13 49 3.8 Project Grant 10 16 1.6 Rental Subsidy 12 17 1.4 Other Funds 7 10 1.4 Overall 42 92 2.2

Chinese Dance Number of Average Performances Number of Productions Performances per Production Administrative Grant 5 21 4.2 Project Grant 7 8 1.1 Rental Subsidy 5 6 1.2 Other Funds 1 1 1.0 Overall 18 36 2.0

Foreign Folk Dance Number of Average Performances Number of Productions Performances per Production Administrative Grant ––– Project Grant 12 21 1.8 Rental Subsidy 3 5 1.7 Other Funds 2 3 1.5 Overall 17 29 1.7

92 Hong Kong Annual Arts Survey 2007/08 Theatre

4.2 Theatre Figure 4.2.1 Distribution of Theatre Productions

Competition Combined 7 Physical/Mime 25 1.5% 3 Musical 5.4% 0.6% 53 Drama 11.4% 268 57.8%

464 Theatre productions Children Theatre 108 23.3%

The arts genres of Theatre include Drama, Children Theatre, Musical, Physical/Mime, Competition and Combined. “Children Theatre” refers to programmes targeted for children and programmes may take the form of puppetry or musical, etc. “Slava’s Snowshow” staged in 2007/08 was also classified as a Children Theatre programme. ‘Musical’ includes Music Theatre programmes. “Competition” includes award presentation ceremonies. “Combined” refers to any programme consisting of performances with two or more aforementioned art genres (such as Drama and Musical). In case a programme could not be classified due to insufficient information (e.g., “Hong Kong School Drama Festival 2006/07 – Public Performance”), it would be classified as a Combined programme.

According to the statistics, a total of 464 Theatre productions were staged at 28 venues in the 17 Performance Facilities18, accounting for 15.2% of all performing arts programmes (3,050) in 2007/08. The above chart indicated that the top three arts genres of Theatre in terms of number of productions were Drama (accounting for 57.8% of all Theatre programmes), Children Theatre (23.3%) and Musical (11.4%).

18 Among the 34 performing arts venues, no Theatre programme was staged in the following venues in 2007/08: Hall 1 and 2 of Sunbeam Theatre, Concert Hall and Recital Hall of HKAPA, Theatre at the Ko Shan Theatre and Concert Hall of the Hong Kong Cultural Centre.

93 Figure 4.2.2 Distribution of Theatre Performances

Competition Combined 10 Physical/ 79 0.5% Mime 4.3% 8 Musical 0.4% Drama 276 1,188 14.9% 64.0%

Children 1,857 Theatre performances Theatre 296 15.9%

According to the statistics, a total of 1,857 performances from the 464 Theatre productions were staged in 2007/08, accounting for 32.2% of the total number of performances (5,766). On average, each Theatre production staged 4 performances.

The above chart indicated that the top three art genres measured by the performance numbers were Drama (accounting for 64% of all Theatre performances), Children Theatre (15.9%) and Musical (14.9%), the same order as that in terms of productions numbers.

Compared with the average number of performances per programme among the different genres of Theatre, it was found that Musical had the highest average number of performances (5.2 performances per programme), followed by Drama (4.4 performances), Combined (3.2 performances), Physical/Mime (2.7 performances), Children Theatre (2.7 performances) and Competition (1.4 performances).

According to the data from the venue operators, a total of 2,036 Theatre performances were put on at the 28 venues in the 17 Performance Facilities in 2007/08, which meant that a total of 179 performances did not reflect from the event calendars. Checked with the venue operators, these records belonged to additional staged performances, and many of them were educational/ promotional performances targeting at the students.

94 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.3 Distribution of Theatre Productions by Local/non-local Nature

Visiting Mixed 10.6% 0.2%

Local/non-local Number of Percentage Nature Productions

Local 414 89.2%

Visiting 49 10.6% 464 Theatre productions Mixed 1 0.2%

Sub-total 464 100% Local 89.2%

The event calendars listed the presentation/production organizations. According to the names of productions and organizations, it was able to classify most of the programmes into Local Production, Visiting Production and Mixed Production.19

From the chart above, the number of Local Productions (accounting for 89% of all Theatre programmes) was higher than that of Visiting Productions, and only one Mixed Production was in record.

Figure 4.2.4 indicated the proportion of programme numbers by local/non-local nature within the sub-categories of Theatre. All of Combined, Competition and Physical/Mime programmes were Local Productions.

Drama was accounted for 58% of the total Theatre programmes, the production numbers were more than Children Theatre and Musical. Even the percentages of different productions tabulated by the local/non-local nature, Drama had a higher proportion of Local Productions than that of Children Theatre and Musical.

19 Local Production refers to any programme that is entirely performed by a local group(s). Visiting Production refers to any programme that is entirely performed by a non-local group(s). Mixed Production refers to any programme that is performed jointly by local group(s) and non-local group(s). Classification is based on the presentation/production organization, not individual artist participated in a production.

95 Figure 4.2.4 Distribution of Theatre Productions by Local/non-local Nature

300 268

250

200

Number of 150 Productions 108

100

50 25

7 3

Drama Musical Combined Competition Physical/Mime Children Theatre Arts Genres of Theatre

Local Visiting Mixed

Number of Children Physical/ Productions & Drama Musical Combined Competition Sub-total Theatre Mime Percentage

246 87 46 25 7 3 414 Local 91.8% 81% 87% 100% 100% 100% 89.2%

21 21 7 49 Visiting ––– 7.8% 19% 13% 10.6%

1 1 Mixed ––––– 0.4% 0.2%

268 108 53 25 7 3 464 Sub-total 100% 100% 100% 100% 100% 100% 100%

96 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.5 Distribution of Theatre Performances by Local/non-local Nature

Visiting Mixed 8.7% 0.2% Local/non-local Number of Percentage Nature Performances

Local 1,692 91.1%

Visiting 161 8.7% 1,857 Theatre performances Mixed 4 0.2%

Sub-total 1,857 100% Local 91.1%

Similar results were found when compared to the distribution of the 1,857 performances with the 464 productions.

Through comparison of the average number of performances per programme between Local Productions and Visiting Productions, it was found that Local Theatre programmes recorded an average number of performances close to the overall average of all Theatre programmes. The average performance of the 464 Theatre programmes was 4, while the average performance of the 414 Local Theatre programmes was 4.1. Visiting Theatre performances had an average number of 3.3.

97 Figure 4.2.6 Number of Theatre Performances by Local/non-local Nature

1,400

1,188 1,200

1,000

800

Number of Performances 600

400 296 276

200 79

10 8 0

Drama Musical Combined Competition Physical/Mime Children Theatre Arts Genres of Theatre

Local Visiting Mixed

Number of Children Physical/ Performances Drama Musical Combined Competition Sub-total Theatre Mime & Percentage

1,116 231 248 79 10 8 1,692 Local 93.9% 78% 90% 100% 100% 100% 91.1%

68 65 28 161 Visiting ––– 5.7% 22% 10% 8.7%

4 4 Mixed ––––– 0.3% 0.2%

1,188 296 276 79 10 8 1,857 Sub-total 100% 100% 100% 100% 100% 100% 100%

98 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.6 showed that among the 1,857 Theatre performances at the 28 venues in the 17 Performance Facilities, Drama had more Visiting performances. But in terms of the proportion of performances tabulated by local/non-local nature, Children Theatre had a higher proportion of Visiting performances than other art genres.

Compared the average number of performances per local/visiting production among Drama, Children Theatre and Musical (see Table 4.2.1), Musical had a higher average number of performances, regardless of the local/non-local nature, than that of Drama and Children Theatre.

Table 4.2.1 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Local/Visiting Segment among Drama, Children Theatre and Musical Drama Average Number of Number of Performances per Productions Performances Production Local 246 1,116 4.5 Visiting 21 68 3.2

Children Theatre Average Number of Number of Performances per Productions Performances Production Local 87 231 2.7 Visiting 21 65 3.1

Musical Average Number of Number of Performances per Productions Performances Production Local 46 248 5.4 Visiting 7 28 4

99 Figure 4.2.7 Number of Theatre Productions by Month

60 60

50 45 43 42 41 39 40 38 35 Number of 33 34 Productions 30 30 24

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Dec-07 Jan-08 Feb-08 Mar-08 Nov-07v Month Drama Children Theatre Musical

Physical/Mime Competition Combined

100 Hong Kong Annual Arts Survey 2007/08 Theatre

Number of Sub- Productions and Apr 07 May 07 Jun 07 Jul 07 Aug 07 Sep 07 Oct 07 Nov 07 Dec 07 Jan 08 Feb 08 Mar 08 total Percentage

25 28 14 24 28 25 19 21 24 27 16 17 268 Drama 66% 47% 34% 53% 65% 71% 58% 70% 57% 69% 67% 50% 57.8%

6 19 23 14 4 4 5 2 14 7 4 6 108 Children Theatre 16% 32% 56% 31% 9% 11% 15% 7% 33% 18% 17% 18% 23.3%

4 3 3 5 6 6 6 5 3 5 3 4 53 Musical 11% 5% 7% 11% 14% 17% 18% 17% 7% 13% 13% 12% 11.4%

3 7 1 1 4 2 1 1 5 25 Combined – –– 8% 12% 2% 2% 9% 6% 3% 4% 15% 5.4%

1 1 1 1 1 2 7 Competition – – –– –– 2% 2% 2% 3% 2% 6% 1.5%

2 1 3 Physical/Mime – –––– ––––– 3% 3% 0.6%

38 60 41 45 43 35 33 30 42 39 24 34 464 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 464 Theatre productions tabulated by month, the top three months were May (60 programmes accounting for 13% of the total Theatre productions), followed by July (45 programmes accounting for 10%) and August (43 programmes accounting for 9%).

From the above chart, the highest numbers of Drama programmes were staged in May and August. Since Drama programmes accounted for six tenth of all Theatre programmes, it turned out to have the highest programme numbers among the art genres in most of the months. The only exception was found in June, with over a half of the productions under Children Theatre (accounting for 56% of the month). Of the total 108 Children Theatre programmes, the highest programme number was also found in June. The months with more Musical programmes were August, September and October.

101 Figure 4.2.8 Number of Theatre Performances by Month

220

197 197 200 189

180 166 160 160 152 149 146 142 134 140 122 120 Number of 103 Performances 100

4/2007 5/2007 6/2007 7/2007 8/2007 9/2007 1/2008 2/2008 3/2008 10/2007 11/2007 12/2007 Month

Drama Children Theatre Musical

Physical/Mime Competition Combined

102 Hong Kong Annual Arts Survey 2007/08 Theatre

Number of Sub- Performances Apr 07 May 07 Jun 07 Jul 07 Aug 07 Sep 07 Oct 07 Nov 07 Dec 07 Jan 08 Feb 08 Mar 08 total and Percentage

114 117 78 89 108 91 106 84 101 139 81 80 1,188 Drama 77% 59% 51% 56% 65% 75% 73% 63% 51% 74% 79% 56% 64%

9 40 40 36 24 5 8 14 73 17 6 24 296 Children Theatre 6% 20% 26% 23% 14% 4% 5% 10% 37% 9% 6% 17% 15.9%

16 10 31 33 24 26 24 21 22 33 12 24 276 Musical 11% 5% 20% 21% 14% 21% 16% 16% 11% 17% 12% 17% 14.9%

10 23 3 1 6 6 14 4 12 79 Combined – –– 7% 12% 2% 1% 4% 4% 10% 4% 8% 4.3%

1 1 4 1 1 2 10 Competition – – –– –– 1% 1% 2% 1% 1% 1% 0.5%

6 2 8 Physical/Mime – –––– ––––– 3% 1% 0.4%

149 197 152 160 166 122 146 134 197 189 103 142 1,857 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 1,857 Theatre performances tabulated by month, the top three months were May and December (both had 197 performances accounting for 11%), followed by January (189 performances accounting for 10%). While the sequence of the months by highest performance numbers was different from that by highest production numbers, May was the only month with higher numbers of both programmes and performances in record.

Compared among the Theatre categories, Drama had the highest number in January (139), while Musical had the highest number in both July and January (33), Children Theatre had the highest number in December (73). In other words, the public enjoyed more performance choices in January.

Compared the average number of performances per production among Drama, Musical and Children Theatre, Table 4.2.2 indicated that Drama had the highest record in June and October, with each Drama programme staged 5.6 performances on average. Children Theatre had the highest record in November, with each programme staged 7 performances on average. Musical had the highest record in June, with each Musical programmes staged 10.3 performances on the average.

103 Table 4.2.2 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Month among Drama, Musical and Children Theatre

Drama Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 25 28 14 24 28 25 19 21 24 27 16 17 268 Productions Number of 114 117 78 89 108 91 106 84 101 139 81 80 1,188 Performances Average Performances 4.6 4.2 5.6 3.7 3.9 3.6 5.6 4.0 4.2 5.1 5.1 4.7 4.4 per Production Children Theatre Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 619231444 5 21474 6108 Productions Number of 9 404036245 8 1473176 24296 Performances Average Performances 1.5 2.1 1.7 2.6 6.0 1.3 1.6 7.0 5.2 2.4 1.5 4.0 2.7 per Production Musical Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 total Number of 43356665353453 Productions Number of 16 10 31 33 24 26 24 21 22 33 12 24 276 Performances Average Performances 4.0 3.3 10.3 6.6 4.0 4.3 4.0 4.2 7.3 6.6 4.0 6.0 5.2 per Production

104 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.9 Distribution of Theatre Performances by Admission Nature

Free 2.6%

Admission Number of Percentage Nature Performances

Paid 1,736 97.4% 1,782 Theatre performances Free 46 2.6%

Sub-total 1,782 100%

Paid 97.4%

According to the data, 22 out of the 1,857 Theatre performances were not counted due to lack of detailed information. Of the 1,835 on record, around 97% (1,782) were public performances. From the above chart, 97% of these public performances were paid.

Figure 4.2.10 indicated that Musical had more performances than Children Theatre.

According to the distribution of performances measured by the admission nature in Theatre categories, all Physical/Mime performances were paid, while most of the other performances, excluding Competition, were also paid.

105 Figure 4.2.10 Number of Theatre Performances by Admission Nature

1,400

1,152 1,200

1,000

800

Number of Performances 600

400 273 266

200 73 10 8

Drama Musical Combined Competition Physical/Mime Children Theatre Arts Genres of Theatre Free Paid

Number of Children Physical/ Performances Drama Musical Combined Competition Sub-total Theatre Mime & Percentage

23 2 2 13 6 46 Free – 2% 0.7% 0.8% 18% 60% 3%

1,129 271 264 60 4 8 1,736 Paid 98% 99.3% 99.2% 82% 40% 100% 97%

1,152 273 266 73 10 8 1,782 Sub-total 100% 100% 100% 100% 100% 100% 100%

106 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.11 Distribution of Theatre Performances by Top Price Ticket

Above $420 Free 145 46 $351-$420 8.1% 2.6% $1-$170 142 171 8% 9.6% $281-$350 92 5.2%

5,346 $211-$280 1,782 Theatre 272 performances 15.3%

$71-$140 515 28.9%

$141-$210 399 22.4%

Tabulated the 1,782 public Theatre performances by the top price ticket, there were a larger number of performances ranged at HK$71-$140 segment, accounting for 29% of the total public Theatre performances. Of the 515 performances in this price range, 91% offered only one ticket price.

Next of the HK$71-$140 segment, a total of 399 performances had their top price tickets sold at HK$141-$210, accounting for 22% of all Theatre performances, followed by the HK$71-$140 segment (with 272 performances accounting for 15%).

107 Figure 4.2.12 Number of Theatre Performances by Top Price Ticket

1,400

1,152 1,200

1,000

800

Number of Performances 600

400 273 266

200 73 10 8 0

Drama Musical Children Theatre Combined Competition Physical/Mime

Arts Genres of Theatre

Free $1-$70 $71-$140 $141-$210

$211-$280 $281-$350 $351-$420 Above $420

108 Hong Kong Annual Arts Survey 2007/08 Theatre

Number of Children Physical/ Performances Drama Musical Combined Competition Sub-total Theatre Mime and Percentage

23 2 2 13 6 46 Free – 2% 1% 0.8% 18% 60% 3%

47 10 58 52 4 171 $1-$70 – 4% 4% 21.8% 71% 40% 10%

425 20 56 8 6 515 $71-$140 – 37% 7% 21.1% 11% 75% 29%

269 48 80 2 399 $141-$210 –– 23% 18% 30.1% 25% 22%

170 86 16 272 $211-$280 ––– 15% 32% 6.0% 15%

59 15 18 92 $281-$350 ––– 5% 5% 6.8% 5%

107 35 142 $351-$420 –––– 9% 13% 8%

52 57 36 145 Above $420 ––– 5% 21% 13.5% 8%

1,152 273 266 73 10 8 1,782 Sub-total 100% 100% 100% 100% 100% 100% 100%

With the 1,782 public performances tabulated by top price ticket, Drama performances, ticket price clustered around HK$71 to HK$280, particularly at the HK$71-$140 segment, which accounted for 37% of all public Drama performances.

Musical performances were mainly set at the range HK$141 to HK$280, with more priced at HK$211-$280 segment, accounting for 32% of all public Musical performances. Besides, Musical performances at “Above HK$420” accounted for 21%.

Children Theatre performances were priced at HK$210 or below, with more at HK$141-$210 segment, accounting for 30.1% of all public Children Theatre performances. It is worth nothing that none of Children Theatre performance sold between HK$351 and $420, but there were 36 performances priced above HK$420, accounting for 13.5% of all Children Theatre performances.

109 Figure 4.2.13 Average Top Price Ticket in Theatre Categories

Musical $317.1

Drama $201.8

Children Theatre $200.6 Arts Genres of Theatre

Physical/Mime $122.5

Combined $56.3

Competition $50.0

$0 $50 $100 $150 $200 $250 $300 $350

Average Highest Price(HK$)

There were 1,736 paid performances out of the 1,782 public Theatre performances. The highest- priced Drama tickets ranged from HK$20 to HK$1,000 with 6 performances sold at HK$1,000. The highest-priced Musical tickets ranged from HK$20 to HK$750, Children Theatre from HK$50 to HK$590, Physical/Mime from HK$100 to HK$150, and Combined Theatre from HK$10 to HK$80.

Compared the average price among these categories, Musical recorded the highest average price of HK$317.1, followed by Drama (around HK$201.8), Children Theatre (around HK$200.6) and Physical/Mime (around HK$122.5).

110 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.14 Distribution of Theatre Productions by Source of Funding

Source of Number of Percentage Funding Productions 19.2% Administrative Administrative Grant 89# 19.2% Grant Project Grant 19.0% Project Grant 88## 19.0% Rental Subsidy 28.4% Rental Subsidy 132 28.4%

Other Funds 155 33.4% Other Funds 33.4%

Sub-total 464 100%

# Around 46% of the 89 productions supported by Administrative Grant also received other funding from the government. ## Around 8% of the 88 productions sponsored by Project Grant also received other funding from the government.

LCSD provided information on individual programme that had received rental subsidy/sponsorship, and thus helped to understand the programmes in each art form in terms of different sources of funding. Therefore, all of the programmes listed on the event calendars can be classified into four types of funding sources: Administrative Grant, Project Grant, Rental Subsidy, and Other Funds20.

Of the 464 Theatre programmes, programmes receiving Other Funds constituted the largest group (accounting for 33.4% of the total Theatre programmes).

Of the 89 Theatre programmes under Administrative Grant, around 46% received other funding/ sponsorship from the government at the same time. For example, they were programmes of arts groups receiving the ADC’s One-year Grants and presented/produced by LCSD, or productions receiving venue subsidies/ sponsorship from LCSD. Of the 88 programmes under Project Grant, around 8% were presented or co-presented by governmental departments/statutory bodies and received venue subsidies/sponsorship from LCSD, or productions funded by the ADC’s Project Grants and received venue subsidies/sponsorship from LCSD.

According to the data, a total of 23 educational units21 staged 37 Theatre programmes at the above- mentioned performing arts venues, of which Rental Subsidy programmes had the highest number.

20 Details can be referred to the Statistical Classifications for Performing Arts Section (p.23). 21 The educational units include the arts societies/groups such as the bands or choirs of all primary and secondary schools, kindergartens, school sponsoring bodies, the Hong Kong Academy for Performing Arts, colleges, universities, and inter-school/educational associations such as the Hong Kong Schools Music and Speech Association.

111 Figure 4.2.15 Number of Theatre Productions by Source of Funding

Drama 268

Children Theatre 108

Musical 53

Arts Genres of Theatre Combined 25

Competition 7

Physical/Mime 3

0 50 100 150 200 250 300

Number of Productions

Administrative Grant Project Grant

Rental Subsidy Other Funds

112 Hong Kong Annual Arts Survey 2007/08 Theatre

Number of Children Physical/ Productions & Drama Musical Combined Competition Sub-total Theatre Mime Percentage Administrative 51 28 7 3 89# –– Grant 19% 26% 13% 12% 19% 48 23 10 6 1 88## Project Grant – 18% 21% 19% 24% 14% 19% 81 17 19 14 1 132 Rental Subsidy – 30% 16% 36% 56% 14% 28% 88 40 17 2 5 3 155 Other Funds 33% 37% 32% 8% 71% 100% 33% 268 108 53 25 7 3 464 Sub-total 100% 100% 100% 100% 100% 100% 100%

Compared the different sources of funding among the Theatre categories, programmes of Drama, Children Theatre and Competition had a higher percentage in receiving Other Funds. Both Musical and Combined had a higher percentage in receiving Rental Subsidy.

Of the 37 Theatre programmes presented by the educational units, Drama had the highest number of 22 programmes (accounting for 59% of the 37 programmes), of which Project Grant programmes had a higher percentage (accounting for around 40% of the 22 Drama programmes). Besides, the educational units also presented 7 Combined Theatre programmes, 5 Musical programmes, 2 Competition programmes and one Children Theatre programme.

Compared the different sources of funding among these 37 Theatre programmes presented by the educational units, 12 of them were Drama programmes receiving Project Grant, and 75% of these Drama programmes were presented/produced by the Hong Kong Academy for Performing Arts.

113 Figure 4.2.16 Distribution of Theatre Performances by Source of Funding

Source of Number of Percentage Funding Performances Administrative Grant 25.3% Administrative 469# 25.3% Grant Project Grant 19.1% Project Grant 355## 19.1% Rental Subsidy 23.3% Rental Subsidy 432 23.3%

Other Funds 32.4% Other Funds 601 32.4%

Sub-total 1,857 100%

# Around 29% of the 469 performances supported by Administrative Grant also received other funding from the government. ## Around 7% of the 355 performances sponsored by Project Grant also received other funding from the government.

Compared the distribution of Theatre performance numbers with the production numbers, the percentage of performances funded by Administrative Grant (25.3%) was higher than that of the percentage of productions (19.2%), while the percentage of performances receiving Rental Subsidy (23.3%) was lower than that of the percentage of productions (28.9%).

Of the 469 Theatre performances funded by Administrative Grant, around 29% also received other funding/sponsorship from the government. For example, the ADC’s One-year Grants programme that were also presented/sponsored by LCSD, or productions receiving venue subsidies/ sponsorship from LCSD simultaneously. Of the 355 performances funded by Project Grant, around 7% were presented or co-presented by governmental departments/ statutory bodies and received venue subsidies/sponsorship from LCSD, or productions funded by the ADC’s Project Grants and received venue subsidies/sponsorship from LCSD.

Compared the average performances per programme among the different sources of funding, performances receiving Administrative Grant staged 5.3 times for each production on the average, and those receiving Project Grant staged 4.1 performances. While performances receiving Rental Subsidy staged 3.3 times, and those receiving Other Funds staged 3.9 times.

A total of 114 performances of the 37 Theatre programmes presented/produced by the educational units were recorded, of which 49% receiving Project Grant, and 33 % receiving Rental Subsidy. The rest being Other Funds performances.

114 Hong Kong Annual Arts Survey 2007/08 Theatre

Figure 4.2.17 Number of Theatre Performances by Source of Funding

Drama 1,188

Children Theatre 296

Musical 276

Arts Genres of Theatre Combined 79

Competition 10

Physical/Mime 8

0 200 400 600 800 1,0001,200 1,400

Number of Performances Administrative Grant Project Grant Rental Subsidy Other Funds

Number of Children Physical/ Performances Drama Musical Combined Competition Sub-total Theatre Mime & Percentage 329 88 34 18 469# Administrative Grant –– 28% 30% 12% 23% 25% 245 55 33 18 4 355## Project Grant – 21% 19% 12% 23% 40% 19% 280 38 74 39 1 432 Rental Subsidy – 24% 13% 27% 49% 10% 23% 334 115 135 4 5 8 601 Other Funds 28% 39% 49% 5% 50% 100% 32% 1,188 296 276 79 10 8 1,857 Sub-total 100% 100% 100% 100% 100% 100% 100%

# Among 29% of the 469 performances supported by Administrative Grant also received other funding from the government. ## Among 7% of the 355 performances sponsored by Project Grant also received other funding from the government.

115 The numbers of performances varied significantly among different art genres. In terms of the proportion of performances, Musical supported by Other Funds had a higher proportion than those supported by Rental Subsidy (refer to Figure 4.2.17), which was the opposite with the proportion of production numbers (refer to Figure 4.2.15).

Compared the average number of performances per production tabulated by different sources of funding among Theatre categories (refer to Table 4.2.3), Musical supported by Other Funds had the highest average number of performances (7.94).

Table 4.2.3 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Sources of funding among Drama, Musical and Children Theatre Drama Average Performances per Number of Productions Number of Performances Production Administrative Grant 51 329 6.45 Project Grant 48 245 5.1 Rental Subsidy 81 280 3.46 Other Funds 88 334 3.80 Overall 268 1,188 4.43

Musical Average Performances per Number of Productions Number of Performances Production Administrative Grant 7 34 4.86 Project Grant 10 33 3.3 Rental Subsidy 19 74 3.89 Other Funds 17 135 7.94 Overall 53 276 5.21

Children Theatre Average Performances per Number of Productions Number of Performances Production Administrative Grant 28 88 3.14 Project Grant 23 55 2.39 Rental Subsidy 17 38 2.24 Other Funds 40 115 2.88 Overall 108 296 2.74

Of the 114 performances put on by the educational units, Drama accounted for the highest proportion (43% of the 114 performances), followed by Combined Theatre performances (16.7%). Performances presented/produced by the Hong Kong Academy for Performing Arts with the help of Project Grant accounted around 46% of the 114 performances.

116 Hong Kong Annual Arts Survey 2007/08 Music

4.3 Music

Figure 4.3.1 Distribution of Music Productions

Opera Competition 5 Speech 69 0.4% 1 Chinese Music 6.2% 0.1% 106 9.5%

Choir 112 Western Music 10.0% 416 1,119 Music productions 37.2%

Combined 204 18.2%

Vocal/Concert 206 18.4%

The art genres of Music include Chinese Music, Western Music, Choir, Opera, Vocal/Concert, Speech, Competition and Combined. “Competition” includes award presentation ceremonies. Many Choral Speaking programmes in 2007/08 were competition in nature and were classified as such. “Combined” refers to any programme consisting of performances with two or more aforementioned art genres, such as Western Music and Chinese Music. In case a programme could not be classified due to insufficient information (e.g., Friendship Music Salon “Melodies in Autumn Concert”), it would be classified as a Combined programme.

According to the statistics, a total of 1,119 Music programmes were staged at the 31 venues in the 17 Performance Facilities22, accounting for 36.7% of all performing arts programmes (3,050). The chart above showed that the top three art genres of Music in terms of number of productions are Western Music (accounting for 37.2% of all Music programmes), Vocal/Concert (18.4%) and Combined (18.2%).

22 Among the 34 performing arts, those where no Music programme was staged in the following venues in 2007/08: Hall 1 and Hall 2 of the Sunbeam Theatre, and Cultural Activities Hall of the Ngau Chi Wan Civic Centre.

117 Figure 4.3.2 Distribution of Music Performances

Chinese Music Opera 19 Choir 120 Speech 1.0% 122 6.1% 1 6.2% 0.1%

Combined 213 11.8% Competition 714 36.3% 5,346 1,965 Music performances Vocal/Concert 263 13.4%

Western Music 495 25.2%

According to the statistics, a total of 1,965 performances from the 1,119 Music programmes were staged in 2007/08, accounting for 34.1% of the total number of performing arts performances (5,766). On average, each Music programme staged 1.8 performances.

The above chart indicated that the top three art genres measured by the performance numbers were Competition (accounting for 36.3% of all Music performances), Western Music (25.2%) and Vocal/ Concert (13.4%).

Comparing the distribution of performance to the production numbers, Competition (69 programmes) only accounting for 6% of all Music programmes had the highest performance numbers among the Music categories. The major reason was that a number of Speech competition programmes had an average of more than 30 performances per programme, added up to over 300 performances in 2007/08.

According to the data from the venue operators, a total of 1,665 Music performances were put on at the 17 Performance Facilities. The gap between the statistics was mainly due to the different classifications of Music categories adopted by the venue operators and the Survey23.

23 Speech and Music competition programmes were classified as multi-arts programmes according to venue operators.

118 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.3 Distribution of Music Productions by Local/non-local Nature

Visiting Mixed 12.1% 2.3%

Local/non-local Number of Percentage Nature Productions

Local 958 85.6% 1,119 Music Visiting 135 12.1% productions

Mixed 26 2.3%

Sub-total 1,119 100% Local 85.6%

With reference to the names of productions and presentation/production organizations, it was able to classify most of the programmes into Local Production, Visiting Production and Mixed Production.24.

The chart above showed that most of the 1,119 Music programmes put on at the 31 venues in the 17 Performance Facilities were Local Productions (accounting for 85.6% of all Music programmes). Mixed Productions in Music were the highest among other art forms. An example of such programme was ‘International Youth Music Exchange Programme - Symphonic Trilogy - Vermont Youth Orchestra (USA) and Hong Kong Youth Chinese Orchestra’.

Figure 4.3.4 indicated the proportion of programme numbers by local/non-local nature within the Music categories. Western Music had a relatively high percentage of Visiting Productions while Opera had very close proportions of Local and Visiting programmes.

24 Local Production refers to any programme that is entirely performed by a local group(s). Visiting Production refers to any programme that is entirely performed by a non-local group(s). Mixed Production refers to any programme that is performed jointly by local group(s) and non-local group(s). Classification is based on the presentation/production organization, not individual artist participated in a production.

119 Figure 4.3.4 Distribution of Music Productions by Local/non-local Nature

450 416

400

350

300

250 Number of 206 204 Productions 200

150 112 106

100 69

50 5 1 0

Choir Opera WesternMusic ChineseMusic Speech Combined Competition Vocal/Concert Arts Genres of Music

Local Visiting Mixed

Number of Western Vocal/ Chinese Productions Combined Choir Competition Opera Speech Sub-total Music Concert Music & Percentage

317 180 197 94 98 69 2 1 958 Local 76% 87.4% 97% 84% 92% 100% 40% 100% 86%

82 25 5 15 5 3 135 Visiting – – 20% 12.1% 2% 13% 5% 60% 12%

17 1 2 3 3 26 Mixed ––– 4% 0.5% 1% 3% 3% 2%

416 206 204 112 106 69 5 1 1,119 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

120 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.5 Distribution of Music Performances by Local/non-local Nature

Visiting Mixed 10.2% 1.7% Local/non-local Number of Percentage Nature Performances

Local 1,731 88.1%

Visiting 201 10.2% 1,965 Music performances Mixed 33 1.7%

Sub-total 1,965 100% Local 88.1%

Similar proportions were found when compared to the distribution of the 1,965 performances with the 1,119 productions.

Compared the average number of performances per programme, Local Music performances recorded a higher average number of 1.8 times, followed by Visiting performances (around 1.5 times), and Mixed performances (around 1.3 times).

Figure 4.3.6 indicated the proportion of performance numbers by local/non-local nature among the Music categories. More than 90% of both Chinese Music and Combined performances were Local Productions. Of the Mixed Productions, the highest number of performances was found in Western Music.

121 Figure 4.3.6 Number of Music Performances by Local/non-local Nature

800 714

700

600

495 500

Number of 400 Performances

263 300 231

200 122 120

100 19 1 0

Choir Opera Speech WesternMusic ChineseMusic Combined Competition Vocal/Concert Arts Genres of Music Local Visiting Mixed

Number of Western Vocal/ Chinese Performances Competition Combined Choir Opera Speech Sub-total Music Concert Music & Percentage

714 361 212 223 100 111 9 1 1,731 Local 100% 73% 80.6% 97% 82% 93% 47% 100% 88%

111 50 6 18 6 10 201 Visiting – – 22% 19.0% 3% 15% 5% 53% 10%

23 1 2 4 3 35 Mixed – –– 5% 0.4% 1% 3% 3% 2%

714 495 263 231 122 120 19 1 1,965 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

122 Hong Kong Annual Arts Survey 2007/08 Music

Compared the average performances per local/non-local production among Chinese Music, Western Music, Opera, Choir and Vocal/Concert (see Table 4.3.1), the numbers of Opera programmes and performances were low, but the average performances per programme record was the highest among Music categories, of which the average Local Opera performance was higher than Visiting Opera performance. After excluding the exceptional low figure of Opera, a higher average number of performances was found in Visiting Productions of Vocal/Concert. Of the Western Music category, the average performance in Local Productions was slightly lower than Visiting and Mixed Productions.

Table 4.3.1 Comparison of Production Numbers, Performance Numbers and Average Number of Performances per Production Tabulated by Local/non-local Nature among Chinese Music, Western Music, Opera, Choir and Vocal/Concert

Chinese Music Number of Number of Average Performances Productions Performances per Production Local 98 111 1.13 Visiting 5 6 1.20 Mixed 3 3 1.00 Overall 106 120 1.13

Western Music Number of Number of Average Performances Productions Performances per Production Local 317 361 1.14 Visiting 82 111 1.35 Mixed 17 23 1.35 Overall 416 495 1.19

Opera Number of Number of Average Performances Productions Performances per Production Local 2 9 4.50 Visiting 3 10 3.33 Mixed ––– Overall 5 19 3.80

Choir Number of Number of Average Performances Productions Performances per Production Local 94 100 1.06 Visiting 15 18 1.20 Mixed 3 4 1.33 Overall 112 122 1.09

Vocal/Concert Number of Number of Average Performances Productions Performances per Production Local 180 212 1.18 Visiting 25 50 2 Mixed 111 Overall 206 263 1.28

123 Figure 4.3.7 Number of Music Productions by Month

180

155 160

140 129

120 108 103 105 100 Number of 89 83 80 Productions 78 79 80 63 60 47

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 Month Chinese Music Western Music Choir Opera

Vocal/Concert Speech Competition Combined

124 Hong Kong Annual Arts Survey 2007/08 Music

Number of Productions Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 and total Percentage

Western 17 69 29 26 25 29 47 53 38 28 29 26 416 Music 36% 45% 46% 33% 32% 28% 45% 41% 35% 34% 37% 29% 37.2%

Vocal/ 12 24 14 11 15 31 12 17 16 19 9 26 206 Concert 26% 15% 22% 14% 19% 30% 11% 13% 15% 23% 11% 29% 18.4%

5 31 7 19 21 13 16 26 20 11 17 18 204 Combined 11% 20% 11% 24% 27% 13% 15% 20% 19% 13% 22% 20% 18.2%

6 9 3 9 9 11 11 12 15 13 9 5 112 Choir 13% 6% 5% 11% 12% 11% 10% 9% 14% 16% 11% 6% 10%

Chinese 6 19 5 8 4 9 15 10 10 7 7 6 106 Music 13% 12% 8% 10% 5% 9% 14% 8% 9% 8% 9% 7% 9.5%

1 2 4 7 4 10 2 11 9 5 8 6 69 Competition 2% 1% 6% 9% 5% 10% 2% 9% 8% 6% 10% 7% 6.2%

1 1 1 2 5 Opera – ––– –––– 1% 2% 1% 2% 0.4%

1 1 Speech –––––– ––––– 1% 0.1%

47 155 63 80 78 103 105 129 108 83 79 89 1,119 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

With the 1,119 Music productions tabulated by month, the top three months in terms of number of programme were May (155 programmes accounting for 14% of the total Music programmes), November (129 programmes accounting for 12%) and December (108 programmes accounting for 10%).

From the above chart, a larger number of Chinese Music, Western Music and Combined Music programmes were staged in May. Note that there were a number of Chinese and western music contributed to Combined Music programmes. In other words, the public had a more diverse range of Music programmes in May.

Western Music programmes accounted for 37% of all Music programmes, it turned out to have the highest programme numbers among the art genres in most of the months, except September and March. In September the number of Vocal/Concert programmes was the highest, whereas in March the number of Vocal/Concert programmes equal to that of Western Music programmes.

Choir programmes staged mainly in the third quarter with the highest number in December.

125 Figure 4.3.8 Number of Music Performances by Month

350

314

300 288 286

250

200 200 Number of 169 Performances 150 127 118 107 112 97 90 100

57 50

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 Month Chinese Music Western Music Choir Opera Vocal/Concert Speech Competition Combined

126 Hong Kong Annual Arts Survey 2007/08 Music

Number of Performances Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 and total Percentage

1 2 5 8 4 19 2 155 172 13 117 216 714 Competition 2% 1% 5% 8% 4% 15% 2% 54% 60% 12% 59% 69% 36.3%

Western 21 71 53 33 31 35 49 55 49 35 33 30 495 Music 37% 42% 50% 34% 34% 28% 42% 19% 17% 31% 17% 10% 25.2%

Vocal/ 17 32 22 12 17 35 15 24 18 27 14 30 263 Concert 30% 19% 21% 12% 19% 28% 13% 8% 6% 24% 7% 10% 13.4%

5 32 9 26 23 14 17 28 22 14 20 21 231 Combined 9% 19% 8% 27% 26% 11% 14% 10% 8% 13% 10% 7% 11.8%

6 10 3 9 11 14 13 14 15 13 9 5 122 Choir 11% 6% 3% 9% 12% 11% 11% 5% 5% 12% 5% 2% 6.2%

Chinese 7 21 8 9 4 10 16 12 10 10 7 6 120 Music 12% 12% 7% 9% 4% 8% 14% 4% 3% 9% 4% 2% 6.1%

1 7 5 6 19 Opera – ––– –––– 1% 7% 4% 2% 1%

1 1 Speech –––––– ––––– 1% 0.1%

57 169 107 97 90 127 118 288 286 112 200 314 1,965 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Slightly different from the order of months in terms of the number of programmes, the top three months of performances were March (314 performances, accounting for 16% of all Music performances), November (288 performances accounting for 14.7%) and December (286 performances accounting for 14.6%). The major reason was a larger amount of Competition performances recorded in these three months.

With Competition performances excluded, the top three months were May (167 performances), November (133 performances) and October (116 performances).

Examined Figure 4.3.7 and Figure 4.3.8, May was the only month in which both Music programmes and performances attained high number.

127 Figure 4.3.9 Distribution of Music Performances by Admission Nature

Free 49.7% Admission Number of Percentage Nature Performances

Paid 912 50.3% 1,812 Free 900 49.7% Music performances*

Sub-total 1,812* 100% Paid 50.3%

* There were 2 out of the total of 1,814 public Music performances that could not be classified due to lack of detailed information.

According to the data, 1,814 out of the 1,965 Music performances were opened to public. Of these public performances, excluding 2 unclassified cases, paid and free performances each accounted for about a half. See the chart above.

Figure 4.3.10 indicated the admission nature among Music categories. The vast majority of Competition performances were free of charge. Given these 600 performances that made up to nearly two thirds of the total free public performances (900), or equivalent to 33% of the total public performances of Music (1,184), they led to a more even split between free and paid ones.

Compared the distribution of performances measured by the admission nature in Music categories in Figure 4.3.10, Opera and Speech performances were all paid. Among the other six categories, Choir had a higher proportion of admission-charged performances.

128 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.10 Number of Music Performances by Admission Nature

700 630

600

466 500

400 Number of Performances

300 256

199 200

121 120

100

19 1 0

Choir Opera Speech Combined Competition Vocal/Concert Western Music Chinese Music Arts Genres of Music Free Paid

Number of Western Vocal/ Chinese Sub- Performances & Competition Combined Choir Opera Speech Music Concert Music total Percentage

598 136 53 63 15 35 900 Free –– 95% 29% 21% 32% 12% 29% 50%

32 330 203 136 106 85 19 1 912 Paid 5% 71% 79% 68% 88% 71% 100% 100% 50%

630 466 256 199 121 120 19 1 1,812* Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

* There were 2 out of the total of 1,814 public Music performances that could not be classified due to lack of detailed information.

129 Figure 4.3.11 Distribution of Music Performances by Top Price Ticket

$351-$420 50 $281-$350 2.8% Above $420 53 72 2.9% 4.0% $211-$280 110 6.1% $141-$210 147 8.1% 1,812 Music performances* Free 900 $71-$140 49.7% 229 12.6%

$1-$70 251 13.9%

* There were 2 out of the total of 1,814 public Music performances that could not be classified due to lack of detailed information.

Of the 912 paid public Music performances, there were a larger number of performances ranged at HK$1-$70 segment, accounting for 14% of the total number of public Music performances (1,814). Of the 251 performances in this price range, 88% offered only one ticket price.

A total of 229 performances had their top price set at HK$71-HK$140 segment, accounting for 13% of all public Music performances, next to those with ticket priced at HK$1-$70.

130 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.12 Number of Music Performances by Top Price Ticket

700

630

600

500 466

400 Number of Performances 300 256

199 200

121 120

100

19 1 0

Choir Opera Speech Combined Competition Western Music Vocal/Concert Chinese Music Arts Genres of Music Free $1-$70 $71-$140 $141-$210

$211-$280 $281-$350 $351-$420 Above $420

131 Number of Western Vocal/ Chinese Performances Competition Combined Choir Opera Speech Sub-total Music Concert Music and Percentage

598 136 53 63 15 35 900 Free –– 94.9% 29% 21% 32% 12% 29% 50%

22 57 74 70 18 10 251 $1-$70 –– 3.5% 12% 29% 35% 15% 8% 14%

5 87 34 33 39 30 1 229 $71-$140 – 0.8% 19% 13% 17% 32% 25% 100% 13%

1 67 27 14 27 11 147 $141-$210 –– 0.2% 14% 11% 7% 22% 9% 8%

4 48 18 5 9 22 4 110 $211-$280 – 0.6% 10% 7% 3% 7% 18% 21% 6%

17 16 7 5 7 1 53 $281-$350 – – 4% 6% 4% 4% 6% 5% 3%

30 16 1 2 1 50 $351-$420 – –– 6% 6% 1% 2% 1% 3%

24 18 6 6 4 14 72 Above $420 – – 5% 7% 3% 5% 3% 74% 4%

630 466 256 199 121 120 19 1 1,812* Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

* There were 2 out of the total of 1,814 public Music performances that could not be classified due to lack of detailed information.

Figure 4.3.12 indicated the distribution of performances tabulated by top price ticket among Music categories, all Opera tickets were above HK$210, with the majority priced above HK$420, accounting for 74% of the total public Opera category.

Both Chinese Music and Choir performances were mainly below HK$280, with the majority fell between HK$71 and $140.

Both Western Music and Vocal/Concert performances relatively had a diverse price ranges than other art genres, of which Western Music performances had a higher proportion priced at a higher price range (19% priced at HK$71-$140).

132 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.13 Average Top Price Ticket in Music Categories

Opera $822.1

Western Music $206.5

Chinese Music $198.4

Vocal/Concert $181.8 Arts Genres of Music Choir $163.8

Combined $149.0

Speech $80.0

Competition $72.6

$0 $100 $200 $300 $400 $500 $600 $700 $800 $900 Average Highest Price (HK$)

There were 912 paid performances out of the 1,814 public Music performances. Combined Music performances were set from HK$10 to HK$2,000 with 3 performances cost above HK$1,000, being the widest price range category.

The top price Western Music tickets ranged from HK$20 to HK$1,800 with 2 performances sold over HK$1,000. Opera tickets ranged from HK$250 to HK$1,280 with 5 performances priced over HK$1,000. Its minimum price was the highest among the Music categories.

The top price Chinese Music tickets ranged from HK$10 to HK$1,000 with 3 performances cost HK$1,000. Vocal/Concert tickets ranged from HK$10 to HK$880, while Choir tickets ranged from HK$20 and HK$680.

Compared the average price among these categories, Opera recorded the highest average price at HK$822.1. Next of Opera was Western Music (HK$206.5), followed by Chinese Music (HK$198.4), Vocal/Concert (HK$181.8), Choir (HK$163.8) and Combined (HK$149).

133 Figure 4.3.14 Distribution of Music Productions by Source of Funding

Source of Number of Percentage Funding Productions Administrative Grant 6.6% Administrative 73# 6.6% Grant Project Grant 34.2% Project Grant 381## 34.2% 38.7% Rental Rental Subsidy 431 38.7% Subsidy Other Funds 20.6% Other Funds 229 20.6%

Sub-total 1,114* 100%

* There were 5 out of the total 1,119 Music programmes that could not be classified due to lack of detailed information. # Around 14% of the 73 productions supported by Administrative Grant also received other funding from the government. ## Around 6% of the 381 productions sponsored by Project Grant also received other funding from the government.

LCSD also contributed to this survey by providing information on individual programmes that had received rental subsidy/sponsorship, and thus helped to understand the programmes in each art form in terms of different sources of funding. Therefore, all of the programmes listed on the event calendars can be classified into four types of funding sources: Administrative Grant, Project Grant, Rental Subsidy, and Other Funds25.

Nearly 40% of the total Music productions, excluding 5 out of the 1,119 productions that could not be classified, received Rental Subsidy.

Of the 73 Administrative Grant Music programmes, around 14% received other funding/sponsorship from the government. For example, they were LCSD presented/sponsored programmes staged by the ten arts groups directly funded by HAB, or programmes by arts groups receiving ADC’s One-year Grant and received venue subsidies/ sponsorship from LCSD, or presented/sponsored by LCSD simultaneously.

Of the 381 Project Grant programmes, around 6% funded by the ADC’s Project Grants, and/or also received venue subsidies/sponsorship from LCSD.

25 Administrative Grant refers to programmes presented/produced by the ten performing arts groups which are directly subvented by the Home Affairs Bureau, and the arts groups which received One-year Grant from ADC. Those funding mainly supported the operation of the arts groups and part of the programmes organized/ produced by them. Project Grant refers to programmes presented/sponsored by LCSD, and/or receiving ADC’s Project Grants, as well as programmes presented/co-presented by other governmental departments/statutory bodies (e.g., Education Bureau, District Council etc.), and those presented/produced by Hong Kong Academy for Performing Arts, and Hong Kong Arts Festival. Rental Subsidy refers to the programmes received which were covered by the Rental Subsidy Scheme or Hire Charge Reduction Scheme or any venue sponsorship from LCSD. Other Funds refers to the programmes that did not receive any of the above public funding/subsidy. However, they may receive funding from various foundations or from non-governmental bodies.

134 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.15 Number of Music Productions by Source of Funding

Western Music 414

Vocal/Concert 206

Combined 201

Choir 112 Arts Genres of Music Chinese Music 106

Competition 69

Opera 5

1 Speech

0 50 100 150 200 250 300 350 400 450 500

Number of Productions

Administrative Grant Project Grant Rental Subsidy Other Funds

135 Number of Productions Western Vocal/ Chinese Combined Choir Competition Opera Speech Sub-total and Music Concert Music Percentage

Administrative 44 7 2 1 18 1 73# –– Grant 11% 3% 1% 1% 17% 1% 7%

201 34 64 30 42 7 3 381## Project Grant – 49% 17% 32% 27% 40% 10% 60% 34%

112 89 77 70 38 44 1 431 Rental Subsidy – 27% 43% 38% 63% 36% 64% 100% 39%

57 76 58 11 8 17 2 229 Other Funds – 14% 37% 29% 10% 8% 25% 40% 21%

414 206 201 112 106 69 5 1 1,114* Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

Figure 4.3.15 indicated the distribution of programmes among the Music categories. Western Music programmes accounted for nearly 40% of the total Music programmes and gained nearly the largest shares in each funding source category, with the exception in Other Funds where Vocal/Concert had a higher percentage.

Compared the different sources of funding among the Music categories, Chinese Music productions had a higher proportion in receiving Administrative Grant than other genres. Choir productions had a higher proportion in receiving Rental Subsidy than other genres.

Opera programmes were relatively scare and supported by Project Grant and Other Funds.

136 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.16 Distribution of Music Performances by Source of Funding

Source of Number of Percentage Funding Performances Administrative Grant 6.2%

Administrative 121# 6.2% Grant Project Grant 23.7%

## Project Grant 465 23.7% Rental Subsidy 42.3% Rental Subsidy 829 42.3% Other Funds 27.8% Other Funds 545 27.8%

Sub-total 1,960* 100%

* There were 5 out of the 1,965 Music performances that could not be classified due to lack of detailed information. # Around 15% of the 121 performances supported by Administrative Grant also received other funding from the government. ## Around 5% of the 465 performances sponsored by Project Grant also received other funding from the government.

Compared the distribution of Music performance numbers with the production numbers, similar proportions were found within the Administrative Grant category. Of the Project Grant category, a lower proportion of performances was found. In both Rental Subsidy and Other Funds categories, higher proportions of performances were recorded.

Of the 121 Music performances funded by Administrative Grant, around 15% also received other funding/sponsorship from the government. For example, they were LCSD presented/sponsored programmes staged by the ten arts groups directly funded by HAB, or programmes by arts groups receiving ADC’s One-year Grant and received venue subsidies/sponsorship from LCSD, or presented/sponsored by LCSD simultaneously. This proportion is similar to that of programmes (see Figure 4.3.14).

Of the 465 Music performances funded by Project Grant, around 5% funded by the ADC’s Project Grants, and/or also received venue subsidies/sponsorship from LCSD. This proportion was higher than that of programmes (see Figure 4.3.14).

Calculated the average performances per programmes from Figure 4.3.14 and Figure 4.3.16, performances receiving Other Funds staged 2.38 times for each production was the highest.

From Figure 3.17, Competition performances mainly supported by Rental Subsidy and Other Funds.

Compared the distribution of performances measured by the different sources of funding among the Music categories, the proportion of Opera performances receiving Project Grant was higher than that of other art genres, while the proportion of Choir performances supported by Rental Subsidy was higher than that of other art genres.

137 Figure 4.3.17 Number of Music Performances by Source of Funding

Competition 714

Western Music 493

Vocal/Concert 263

Combined 228 Arts Genres of Music Choir 122

Chinese Music 120

Opera 19

1 Speech 1

0 100 200 300 400 500 600 700 800 Number of Performances

Administrative Grant Project Grant Rental Subsidy Other Funds

Number of Performances Western Vocal/ Chinese Competition Combined Choir Opera Speech Sub-total and Music Concert Music Percentage

Administrative 1 73 12 4 1 30 121# –– Grant 0.1% 14% 4% 2% 0.8% 25% 6%

10 231 57 77 34 42 14 465## Project Grant – 1.4% 46% 22% 33% 27.9% 33% 74% 24%

410 122 97 84 76 39 1 829 Rental Subsidy – 57.4% 26% 37% 38% 62.3% 34% 100% 42%

293 67 97 63 11 9 5 545 Other Funds – 41.0% 14% 37% 28% 9.0% 8% 26% 28%

714 493 263 228 122 120 19 1 1,960* Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100%

138 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.18 Distribution of Music Productions Presented/produced by Educational Institutions by Source of Funding

Source of Number of Percentage Project Grant 76.3% Funding Productions

Project Grant 193 76.3% Rental Subsidy 17% Rental Subsidy 43 17%

Other Funds 17 6.7% 6.7% Sub-total 253 100% Other Funds

There were a total of 253 Music programmes presented/produced by 44 educational units26 in the 17 Performance Facilities, accounting for 23% of the total 1,119 Music programmes in 2007/08. It is worth noting that educational institutions participated more in Music programmes than Dance, Theatre and Xiqu. From the chart above the majority of these Music programmes were supported by Project Grant, of which most of them were programmes presented/produced by the Hong Kong Academy for Performing Arts.

Figure 4.3.19 showed the distribution of programme numbers among the various Music categories, a total of 127 out of the 253 programmes were Western Music, made up to half of the total.

Of the Project Grant category in Figure 4.3.19, Western Music programmes were 117, a high share which accounted for 61% of the total 193 programmes. Of the Rental Subsidy category, Combined programmes took the lead, with 16 programmes, accounted for 37% of the total 43 programmes. Of the Other Funds category, there were 9 Competition programmes accounting for 53% of the total 17 programmes had the highest proportion.

26 The educational units include the arts societies/groups such as the bands or choirs of all primary and secondary schools, kindergartens, school sponsoring bodies, the Hong Kong Academy for Performing Arts, colleges, universities, and inter-school/educational associations such as the Hong Kong Schools Music and Speech Association.

139 Figure 4.3.19 Number of Music Productions Presented/produced by Educational Institutions by Source of Funding

Western Music 127

Combined 61

Competition 22

Arts Genres of Music

Chinese Music 21

Vocal/Concert 16

Choir 6

0 20 40 60 80 100 120 140 Number of Productions

Project Grant Rental Subsidy Other Funds

Number of Western Chinese Vocal/ Productions & Combined Competition Choir Sub-total Music Music Concert Percentage

117 39 19 16 2 193 Project Grant - 92.1% 64% 90% 100% 33% 76%

Rental 9 16 13 2 3 43 - Subsidy 7.1% 26% 59% 10% 50% 17%

1 6 9 1 17 Other Funds -- 0.8% 10% 41% 17% 7%

127 61 22 21 16 6 253 Sub-total 100% 100% 100% 100% 100% 100% 100%

140 Hong Kong Annual Arts Survey 2007/08 Music

Figure 4.3.20 Distribution of Music Performances Presented/produced by Educational Institutions by Source of Funding

Sources of Number of Percentage Project Grant 25.9% Funding Performances

Project Grant 235 25.9% Rental Subsidy 42.1% Rental Subsidy 382 42.1%

Other Funds 290 32% 32% Sub-total 907 100% Other Funds

There were a total of 907 Music performances put on by the educational units. The above chart showed that the proportion of performances supported by Rental Subsidy was higher among different sources of funding, and was different from that of the proportion of productions.

Figure 4.3.21 showed that, Competition recorded a higher proportion of performances in Rental Subsidy and Other Funds categories among different art genres, accounting for 91% and 97% of the categories respectively.

Of the Project Grant category, Western Music had the highest proportion of performances (134) among different art genres, accounting for 57% of the 235 performances.

141 Figure 4.3.21 Number of Music Performances Presented/produced by Educational Institutions by Source of Funding

Competition 631

Western Music 144

Combined 71

Arts Genres of Music Vocal/Concert 34

Chinese Music 21

Choir 6

0 100 200 300 400 500 600 700 Number of performances Project Grant Rental Subsidy Other Funds

Number of Western Vocal/ Chinese Performances Competition Combined Choir Sub-total Music Concert Music & Percentage

134 46 34 19 2 235 Project Grant – 93.1% 65% 100% 90% 33% 26%

Rental 349 9 19 2 3 382 – Subsidy 55% 6.3% 27% 10% 50% 42%

282 1 6 1 290 Other Funds –– 45% 0.7% 8% 17% 32%

631 144 71 34 21 6 907 Sub-total 100% 100% 100% 100% 100% 100% 100%

142 Hong Kong Annual Arts Survey 2007/08 Xiqu

4.4 Xiqu

Figure 4.4.1 Distribution of Xiqu Productions

Other Chinese Operas 33 2.9% Miscellaneous Competition 42 7 Traditional Puppetry Combined 3.7% 0.6% 3 59 0.3% 5.2%

1,137 Xiqu Cantonese productions Operatic Songs Cantonese 518 Opera 45.6% 475 41.8%

The art genres of Xiqu include Cantonese Operatic Songs, Cantonese Opera, Other Chinese Operas, Traditional Puppetry, Competition, Combined and Miscellaneous. “Other Chinese Operas” refer to Chinese operas other than Cantonese opera, such as Beijing Opera, Kun Opera and Yue Opera, etc. “Competition” includes award presentation ceremonies. “Combined” refers to any programme consisting of performances with two or more aforementioned art genres (such as Cantonese Opera and Cantonese Operatic Songs). “Miscellaneous” refers to any programme that could not be classified due to lack of detailed information, or children Cantonese opera/operatic songs programmes.

According to the data, a total of 1,137 Xiqu programmes were staged at 27 venues in the 17 Performance Facilities 27, accounting for 37% of all performing arts programmes (3,050). From the chart above, Cantonese Operatic Songs had the highest number of programmes, accounting for 45.6% of all Xiqu programmes, followed by Cantonese Opera (41.8%). These two categories constituted the majority of the Xiqu programmes.

27 Among the 34 performing arts venues, those where no Xiqu programme was staged during the year include: all of the venues in Hong Kong Fringe Club, all of the venues in the Hong Kong Cultural Centre, Concert Hall and Recital Hall of the Hong Kong Academy for Performing Arts.

143 Figure 4.4.2 Distribution of Xiqu Performances

Other Chinese Operas 51 3.8% Miscellaneous Competition 52 8 3.9% 0.6% Combined Traditional Puppetry 72 4 5.4% 0.3%

1,334 Xiqu performances Cantonese Operatic Songs Cantonese 581 Opera 43.6% 566 42.4%

According to the statistics, a total of 1,334 performances from the 1,137 Xiqu programmes were staged, accounting for 23.1% of the total number of performing arts performances (5,766) in 2007/08. On average, each Xiqu programme staged 1.2 performances.

Of the 1,334 performances, the largest group was Cantonese Operatic Songs performances (43.6%), followed by Cantonese Opera (42.4%), Combined (5.4%), Miscellaneous (3.9%) and Other Chinese Operas (3.8%). Competition and Traditional Puppetry each accounted for less than 1% of the total numbers. The order in terms of performance numbers was the same as that in terms of the programme numbers.

No significant variation was found when comparing the average number of performances per programme among the different genres of Xiqu.

According to the data from the venue operators, a total of 1,469 Xiqu performances were put on at the 27 venues in the 17 Performance Facilities. A discrepancy of 135 performances (around 5 performances per venue) between the statistical data was found. Confirmed with the venue operator, these were additional staged performances.

144 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.3 Distribution of Xiqu Productions by Local/non-local Nature

Visiting Mixed 10.7% 0.4%

Local/non-local Number of Percentage Nature Productions

Local 1,010 88.8% 1,137 Xiqu Visiting 122 10.7% productions Mixed 5 0.4%

Sub-total 1,137 100% Local 88.8%

With reference to the names of productions and presentation/production organizations, it was able to classify most of the programmes into Local Production, Visiting Production and Mixed Production.28

From the chart above, only one tenth of the 1,137 Xiqu programmes staged at the 27 venues in the 17 Performance Facilities were Visiting Productions, the majority were Local Productions (accounting for 89% of all Xiqu programmes).

Figure 4.4.4 indicated the proportion of programme numbers by local/non-local nature within the Xiqu genres. The majority of Local Productions were Cantonese operatic songs, while Cantonese opera had the highest number of programmes in the Visiting category.

28 Local Production refers to any programme that is entirely performed by a local group(s). Visiting Production refers to any programme that is entirely performed by a non-local group(s). Mixed Production refers to any programme that is performed jointly by local group(s) and non-local group(s). Classification is based on the presentation/production organization, not individual artist participated in a production.

145 Figure 4.4.4 Distribution of Xiqu Productions by Local/non-local Nature 600

518 475 500

400

300 Number of Productions

200

100 59 42 33 7 3 0

Combined Competition Miscellaneous Cantonese Opera Traditional Puppetry Other Chinese Operas

Cantonese Operatic Songs Arts Genres of Xiqu Local Visiting Mixed

Number of Cantonese Cantonese Other Chinese Traditional Productions Combined Miscellaneous Competition Sub-total Operatic Songs Opera Operas Puppetry and Percentage

514 390 56 41 1 7 1 1,010 Local 99.2% 82.1% 95% 98% 3% 100% 33% 88.8%

2 84 1 1 32 2 122 Visiting – 0.4% 17.7% 2% 2% 97% 67% 10.7%

2 1 2 5 Mixed –––– 0.4% 0.2% 3% 0.4%

518 475 59 42 33 7 3 1,137 Sub-total 100% 100% 100% 100% 100% 100% 100% 100%

146 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.5 Distribution of Xiqu Performances by Local/non-local Nature

Visiting Mixed 10.8% 0.4%

Local/non-local Number of Percentage Nature Performances

Local 1,185 88.8%

Visiting 144 10.8% 1,334 Xiqu performances Mixed 5 0.4%

Sub-total 1,334 100% Local 88.8%

Similar results were found when compared to the distribution of 1,334 performances with the 1,137 programmes.

Similar proportions were also found when compared the average number of performances per programme between Local Productions and Visiting Productions.

Figure 4.4.6 indicated that, Cantonese Operatic Songs and Cantonese Opera had contributed the majority of the Local performances, accounting for 49% and 40% respectively.

Compared the proportion of performance numbers by local/non-local nature within the Xiqu categories, the majority of Cantonese operatic songs performances were local, while 88% of Other Chinese operas had a higher proportion of visiting performances.

147 Figure 4.4.6 Number of Xiqu Performances by Local/non-local Nature

700

581 566 600

500

400 Number of Performances 300

200

72 100 52 51

8 4 0

Combined Competition Miscellaneous

Cantonese Opera Traditional Puppetry Other Chinese Operas

Cantonese Operatic Songs Arts Genres of Xiqu

Local Visiting Mixed

Number of Cantonese Other Performances Cantonese Traditional Operatic Combined Miscellaneous Chinese Competition Sub-total and Opera Puppetry Songs Operas Percentage

577 473 69 51 6 8 1 1,185 Local 99% 83.6% 96% 98% 12% 100% 25% 88.8%

2 92 1 1 45 3 144 Visiting – 0.3% 16.3% 1% 2% 88% 75% 10.8%

2 1 2 5 Mixed –––– 0.3% 0.2% 3% 0.4%

581 566 72 52 51 8 4 1,334 Sub-total 100% 100% 100% 100% 100% 100% 100% 100%

148 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.7 Number of Xiqu Productions by Month

120 113 114

103 102 99 97 100 92 88 89 83 77 80 80

60 Number of Productions

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08

Month Cantonese Opera Cantonese Operatic Songs Other Chinese Operas Traditional Puppetry Competition Combined Miscellaneous

149 Number of Productions Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 and total Percentage

Cantonese 46 62 52 42 29 56 45 44 30 37 28 47 518 Operatic 52% 63% 46% 51% 28% 49% 46% 48% 39% 42% 35% 46% 45.6% Songs

Cantonese 33 29 46 25 59 45 44 37 35 43 41 38 475 Opera 38% 29% 41% 30% 57% 39% 45% 40% 45% 48% 51% 37% 41.8%

6 4 6 7 6 9 3 4 2 4 4 4 59 Combined 7% 4% 5% 8% 6% 8% 3% 4% 3% 4% 5% 4% 5.2%

3 2 1 4 5 2 4 6 6 3 4 2 42 Miscellaneous 3% 2% 1% 5% 5% 2% 4% 7% 8% 3% 5% 2% 3.7%

Other Chinese 1 7 5 2 1 1 3 2 1 10 33 – – Operas 1% 6% 6% 2% 1% 1% 4% 2% 1% 10% 2.9%

1 1 2 1 1 1 7 Competition – – – ––– 1% 1% 2% 1% 1% 1% 0.6%

Traditional 2 1 3 –––––––––– Puppetry 3% 1% 0.3%

88 99 113 83 103 114 97 92 77 89 80 102 1,137 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Figure 4.4.7 indicated the 1,137 Xiqu programmes tabulated by month. The top three months were September (114 programmes accounting for 10% of the total Xiqu programmes), June (113 programmes accounting for 9.9%) and August (103 programmes accounting for 9.1%).

From the chart above, the highest number of Cantonese Operatic Songs programmes were staged in May (62 programmes). Cantonese Opera programmes had the highest record in August (59 programmes), and Other Chinese Opera programmes were staged in March (10 programmes).

150 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.8 Number of Xiqu Performances by Month

140 131 130 127 122 120 109 111 104 107 106 98 94 95 100

80 Number of Performances 60

Jul-07 Apr-07 May-07 Jun-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08

Month

Cantonese Opera Cantonese Operatic Songs Other Chinese Operas Traditional Puppetry Competition Combined Miscellaneous

151 Number of Performances Sub- Apr-07 May-07 Jun-07 Jul-07 Aug-07 Sep-07 Oct-07 Nov-07 Dec-07 Jan-08 Feb-08 Mar-08 and total Percentage

Cantonese 49 71 58 47 33 63 47 55 32 41 32 53 581 Operatic 47% 58% 44% 48% 26% 48% 43% 51% 34% 39% 34% 48% 43.6% Songs

Cantonese 42 33 56 28 74 50 54 40 46 52 51 40 566 Opera 40% 27% 43% 29% 58% 38% 50% 37% 49% 49% 54% 36% 42.4%

9 5 7 7 9 12 3 5 2 5 4 4 72 Combined 9% 4% 5% 7% 7% 9% 3% 5% 2% 5% 4% 4% 5.4%

4 3 1 6 5 2 4 6 10 5 4 2 52 Miscellaneous 4% 2% 1% 6% 4% 2% 4% 6% 11% 5% 4% 2% 3.9%

Other Chinese 9 8 10 4 1 1 3 3 1 11 51 – – Operas 7% 6% 10% 3% 1% 1% 3% 3% 1% 10% 3.8%

1 1 2 2 1 1 8 Competition – – – ––– 1% 1% 2% 2% 1% 1% 0.6%

Traditional 3 1 4 –––––––––– Puppetry 3% 1% 0.3%

104 122 131 98 127 130 109 107 94 106 95 111 1,334 Sub-total 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

The 1,334 Xiqu performances tabulated by month in Figure 4.4.8, indicated that June and September recorded the highest numbers of performances with more than 130 performances were staged in each month, accounting for 9.8% and 9.7% of the total Xiqu performances respectively. Next was August, which recorded 127 performances and accounting for 9.5% of the total Xiqu performances.

The top three months in terms of Xiqu performance numbers were the same as the top three months in terms of Xiqu programme number, but in different orders.

The performance numbers of Cantonese Operatic Songs and Cantonese Opera were close. When comparing their performance numbers in each month, it was found that Cantonese Operatic Songs performances contributed over half of the Xiqu in May (58%), and doubled the share percentage of Cantonese Opera performances (27% of the Xiqu performances in May). However, the scene in August was completely reversed. Cantonese Opera performances exceed half of the Xiqu performances in August (58% of the Xiqu performances in that month), and twice the percentage of Cantonese Operatic Songs performances (26% of the Xiqu performances in August).

There was no significant difference among the average number of performances per programme in different months.

152 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.9 Distribution of Xiqu Performances by Admission Nature

Free 40.8%

Admission Number of Percentage Nature Performances

Paid 717 59.2% 1,212 Xiqu performances Free 495 40.8%

Sub-total 1,212 100% Paid 59.2%

According to the data, 115 out of the 1,334 Xiqu performances could not be classified due to lack of detailed information. Of the 1,219 on record, around 99% were public performances. Of these 1,212 public performances, paid performances were more than free admission ones. See the chart above.

Figure 4.4.10 indicated the differences among Xiqu categories. The majority of both Cantonese Operatic Songs and Competition performances were free admission, while the majority of Cantonese Opera performances were paid. Combined Xiqu performances had very close proportions of free admission and paid performances, whereas all Traditional Puppetry and Other Chinese Operas were paid performances.

153 Figure 4.4.10 Number of Xiqu Performances by Admission Nature

700

570 600

504 500

400 Number of Performances 300

200

100 43 13 7 4

Combined Competition Miscellaneous

Cantonese Opera Traditional Puppetry Other Chinese Operas

Cantonese Operatic songs Arts Genres of Xiqu Free Paid

Number of Cantonese Cantonese Other Chinese Traditional Performances Combined Miscellaneous Competition Sub-total Operatic Songs Opera Operas Puppetry and Percentage

409 30 34 17 5 495 Free – – 72% 6% 48% 40% 71% 41%

161 474 37 26 13 2 4 717 Paid 28% 94% 52% 60% 100% 29% 100% 59%

570 504 71 43 13 7 4 1,212 Sub-total 100% 100% 100% 100% 100% 100% 100% 100%

154 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.11 Distribution of Xiqu Performances by Top Price Ticket

$351-$420 3 Above $420 $281-$350 0.2% 34 179 2.8% 14.8%

$211-$280 167 13.8% 1,212 Xiqu Free performances 495 40.8%

$141-$210 122 10.1%

$1-$70 $71-$140 68 144 5.6% 11.9%

Among the top price tickets of the 717 admission-charged public performances, there were a larger number of performances priced at HK$281-$350 segment, accounting for 14.8% of the total public Xiqu performances (1,212). All of the 179 performances in this price range offered at least three levels of ticket price.

Next of the HK$281-$350 segment, a total of 167 performances priced at HK$211-$280, accounting for 13.8% of all public Xiqu performances.

155 Figure 4.4.12 Number of Xiqu Performances by Top Price Ticket

570 600

504 500

400 Number of Performances

300

200

71 100 43 13 7 4 0

Combined Competition Miscellaneous

Cantonese Opera Traditional Puppetry Other Chinese Operas

Cantonese Operatic Songs Arts Genres of Xiqu

Free $1-$70 $71-$140 $141-$210

$211-$280 $281-$350 $351-$420 Above $420

156 Hong Kong Annual Arts Survey 2007/08 Xiqu

Number of Cantonese Cantonese Other Chinese Traditional Performances Operatic Combined Miscellaneous Competition Sub-total Opera Operas Puppetry and Percentage Songs

409 30 34 17 5 495 Free – – 71.8% 6% 48% 40% 71% 40.8%

42 15 8 2 1 68 $1-$70 – – 7.4% 3% 11% 15% 14% 5.6%

$71- 28 93 15 1 6 1 144 – $140 4.9% 18% 21% 2% 46% 14% 11.9%

$141- 45 55 5 10 3 4 122 – $210 7.9% 11% 7% 23% 23% 100% 10.1%

$211- 21 135 5 6 167 ––– $280 3.7% 27% 7% 14% 13.8%

$281- 12 155 1 9 2 179 –– $350 2.1% 31% 1% 21% 15% 14.8%

$351- 2 1 3 – –––– $420 0.4% 1% 0.2%

Above 11 21 2 34 –––– $420 1.9% 4% 3% 2.8%

Sub- 570 504 71 43 13 7 4 1,212 total 100% 100% 100% 100% 100% 100% 100% 100%

With the 1,212 public performances tabulated by top price ticket, Cantonese Opera performances were priced from HK$211 to HK$350, with more at HK$281-$350 segment (31% of all public performances of Cantonese Opera). For the performances set above HK$420, Cantonese Opera also had the highest number.

There were few Traditional Puppetry performances, all of which had their top price set at HK$141- $210. Other Chinese Operas performances also had its largest group in this price range.

157 Figure 4.4.13 Average Top Price Ticket in Xiqu Categories

Cantonese Opera $250.3

Other Chinese Operas $246.9

Combined $196.1

Arts Genres Cantonese $194.0 of Xiqu Operatic Songs

Traditional Puppetry $170.0

Miscellaneous $138.5

Competition $85.0

$0 $50 $100 $150 $200 $250 $300 Average Highest Price(HK$)

The records showed that 717 out of the 1,212 public Xiqu performances were admission-charged performances. The highest-priced Cantonese Opera tickets ranged from HK$30 to HK$1,000, with 9 performances sold above HK$1,000 and one of them was fundraising performance. The highest-priced Cantonese Operatic Songs tickets were ranged from HK$10 to HK$2,000, with 6 performances sold above HK$1,000 and all of them were fundraising purpose. The highest- priced Combined Xiqu tickets ranged from HK$10 to HK$1,000, with one performance sold above HK$1,000 for fundraising purpose. The highest-priced Other Chinese Operas tickets ranged from HK$120 to HK$340.

Compared the average highest ticket price among these categories, Cantonese Opera recorded the highest average price (HK$250.3), followed by Other Chinese Operas (HK$246.9), Combined (HK$196.1), Cantonese Operatic Songs (HK$194) and Traditional Puppetry (HK$170).

158 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.14 Distribution of Xiqu Productions by Source of Funding

Source of Number of Percentage Administrative Funding Productions 0.9% Grant Administrative 10# 0.9% Grant Project Grant 16.9%

Project Grant 192## 16.9% Rental Subsidy 54.0% Rental Subsidy 614 54.0%

Other Funds 320 28.2% Other Funds 28.2%

Sub-total 1,136* 100%

* There was 1 out of the total 1,137 Xiqu programmes that could not be classified due to lack of detailed information. # All of the 10 productions supported by Administrative Grant also received other funding from the government. ## Around 28% of the 192 productions funded by Project Grant also received other funding from the government.

From the chart above, Rental Subsidy programmes constituted the largest group (614 productions accounting for 54% of all Xiqu programmes) whereas Administrative Grant programmes constituted the smallest group.

All of the 10 Administrative Grant Xiqu programmes also received other funding from government, such as ADC’s One-year Grant art groups programmes presented/sponsored by LCSD, or programmes received funding from the Cantonese Opera Development Fund also received venue subsidies/sponsorship from the LCSD.

Of the 192 Project Grant programmes, around 28% received venue subsidies/sponsorship from LCSD also supported by ADC’s Project Grants and/or Cantonese Opera Development Fund, or programmes presented/co-presented by governmental departments/statutory bodies also funded by venue subsidies/sponsorship from LCSD.

There were a total of 2 educational units presenting 10 Xiqu programmes at the performing arts venues, accounting for less than 1% of the total 1,137 Xiqu programmes, most of which were presented/produced by the Hong Kong Academy for Performing Arts.

29 Details can be referred to the Statistical Classifications for Performing Arts Section (p.23)

159 Figure 4.4.15 Number of Xiqu Productions by Source of Funding

Cantonese Operatic Songs 517

Cantonese Opera 475

Combined 59 Arts Genres of Xiqu

Miscellaneous 42

Other Chinese Operas 33

Competition 7

Traditional Puppetry 3

0 100 200 300 400 500 600 Number of Productions Administrative Grant Project Grant Rental Subsidy Other Funds

160 Hong Kong Annual Arts Survey 2007/08 Xiqu

Number of Cantonese Cantonese Other Chinese Traditional Productions and Operatic Combined Miscellaneous Competition Sub-total Opera Operas Puppetry Percentage Songs

Administrative 8 1 1 10# – – –– Grant 2% 2% 3% 0.9%

18 150 4 2 15 3 192## Project Grant – 3% 32% 7% 5% 45% 100% 16.9%

454 99 48 6 1 6 614 Rental Subsidy – 88% 21% 81% 14% 3% 86% 54%

45 218 7 33 16 1 320 Other Funds – 9% 46% 12% 79% 48% 14% 28.2%

517 475 59 42 33 7 3 1,136* Sub-total 100% 100% 100% 100% 100% 100% 100% 100%

Figure 4.4.15 indicated that most of the Administrative Grant programmes were Cantonese Opera. Miscellaneous programmes found in Administrative Grant category were children Cantonese opera.

In the Project Grant category, Cantonese Opera also had the highest number, accounting for around 78% of the 192 programmes. In the Rental Subsidy category, Cantonese Operatic Songs had the highest number, accounting for around 74% of the 614 programmes.

In the Other Funds category, the majority was Cantonese Opera programmes (218), accounting for around 68% of the 320 programmes.

161 Figure 4.4.16 Distribution of Xiqu Performances by Source of Funding

Source of Number of Percentage Administrative 0.9% Funding Performances Grant

Administrative 12# 0.9% 17.3% Grant Project Grant

## Project Grant 231 17.3% Rental Subsidy 55.2% Rental Subsidy 736 55.2% Other Funds 26.6% Other Funds 354 26.6%

Sub-total 1,333* 100%

* There was 1 out of the total 1,334 Xiqu performances that could not be classified due to lack of detailed information. # All of the 12 performances supported by Administrative Grant also received other funding from the government. ## Around 29% of the 231 performances funded by Project Grant also received other funding from the government.

Similar proportions were found when compared the distribution of the performance numbers in Figure 4.4.16 with the production numbers in Figure 4.4.14.

From the above chart, the percentages of performance supported by Administrative Grant/Project Grant also receiving other funding from the government were similar to that of the production.

The 10 programmes presented/produced by the educational units had a record of 12 performances.

By comparing Figure 4.4.17 and Figure 4.4.15, the distribution of the performance numbers was close to that of the programme numbers. Most of the performances presented/produced by the education units were Cantonese Opera performances.

162 Hong Kong Annual Arts Survey 2007/08 Xiqu

Figure 4.4.17 Number of Xiqu Performances by Source of Funding

Cantonese Operatic Songs 580

Cantonese Opera 566

Combined 72 Arts Genres of Xiqu Miscellaneous 52

Other Chinese Operas 51

Competition 8

Traditional Puppetry 4

0 100 200 300 400 500 600 600 Number of Performances Administrative Grant Project Grant Rental Subsidy Other Funds

Number of Performances Cantonese Other Chinese Traditional Cantonese Opera Combined Miscellaneous Competition Sub-total and Percentage Operatic Songs Operas Puppetry

Administrative 9 1 2 12# – – –– Grant 2% 2% 4% 0.9%

19 182 5 3 18 4 231## Project Grant – 3% 32% 7% 6% 35% 100% 17.3%

513 139 60 8 9 7 736 Rental Subsidy – 88% 25% 83% 15% 18% 88% 55.2%

48 236 7 40 22 1 354 Other Funds – 8% 42% 10% 77% 43% 13% 26.6%

580 566 72 52 51 8 4 1,333* Sub-total 100% 100% 100% 100% 100% 100% 100% 100%

# All of the 12 performances supported by Administrative Grant also received other funding from the government. ## Around 29% of the 231 performances funded by Project Grant also received other funding from the government. * There was 1 out of the total 1,334 Xiqu performances that could not be classified due to lack of detailed information. 163

Visual Arts 166 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Overview

Most of the exhibition sites, resources and funding are managed by the government, with large- scale exhibitions mostly held at public arts museums. Private organizations hold relatively small- scale exhibitions, but with more flexibility and diversified venue selection and arrangement. They are active in running exhibitions, but how many groups are engaged and what are their exhibition types? In recent years, shopping malls seem to be one of the more popular exhibition sites, but what is its percentage versus the total? According to the issues 2007 and 2008 of the Hong Kong Visual Arts Yearbooks, a total of 1,404 exhibitions were held at 299 different sites in Hong Kong, and 112 overseas exhibitions (53 in the Mainland and 59 elsewhere) held by Hong Kong artists were also recorded in 2007/08. The 299 exhibition sites included public art museums, art museums in universities, art galleries, shopping centres, and public spaces (e.g., hospitals, metro stations and streets), etc. Which type of venue was most often used? The 299 exhibition sites can also be classified into eight categories in terms of the site operators: arts and cultural organizations (e.g., Hong Kong Fringe Club), art galleries (e.g., Osage Kwun Tong), government (e.g., Hong Kong Visual Arts Centre), public organizations (e.g., art alleys in public hospitals), educational institutions (e.g., University Museum and Art Gallery of the University of Hong Kong), other organizations (e.g., Tung Wah Museum), business organizations (e.g., The Landmark) and private owners. Among the eight categories, art galleries which accounted for 28% of the total 299 sites were the largest group, business organizations were the next (26%), and government were the third (17%). These three categories accounted for 70% of the 299 exhibition sites. (See Figure 5.11) How many exhibitions were held per week on average? The attendances of exhibitions were unable to be obtained, but the number of exhibition days could be counted. The local exhibitions had added up to a total of 33,280 exhibition days. In other words, each site was occupied an average of 111 days for hosting different exhibitions. For the public, there were 27 different exhibitions available every week on average. The majority were One-off exhibitions These 27 exhibitions included Permanent Exhibitions, Roving Exhibitions, Concurrent Exhibitions and One-off Exhibitions30. Records showed that Permanent Exhibitions accounted for less than 1% of the total number of exhibitions and only 6% of the total cumulative exhibition days. Over 90% of the exhibitions were One-off Exhibitions and the total cumulative exhibition days was accounted for over 80%. For this reason, exhibitions that the public could choose from on any week were not predominated by Permanent Exhibitions but One-off Exhibitions with different themes. Repeated exhibitions were rare.

30 “Concurrent Exhibitions” refer to a number of exhibitions under the same theme that are held at different venues at the same time. “One-off Exhibition” refers to an exhibition that is held just once for the same exhibition theme and its duration is usually limited.

167 Which type of medium was the most common? When exhibitions were categorized by different types of media, Drawing was the most commonly exhibited (accounted for 28% of the 1,404 exhibitions), Photography was the next (17%). In terms of cumulative exhibition days, Drawing had a longer duration (24%), followed by Antiquities (14%). According to the Hong Kong Visual Arts Yearbook, “Drawing” is for painting in any medium or mixed media. (see Figures 5.3 and 5.4). Which kind of site hosted most exhibitions? The 299 sites can also be classified into ten categories according to their nature. They include: “Public Art/Antiquities Museums” (e.g., the Hong Kong Museum of Art), “Government Cultural Venues” (e.g., the Exhibition Gallery of the Hong Kong Central Library), “Other Government Sites” (e.g., the Central Police Station Compound), “Art/Antiquities Museums in Universities” (e.g., the University Museum and Art Gallery of the University of Hong Kong), “Campuses” (other exhibition sites not included in “Art/Antiquities Museums in Universities”), “Non-profit Organization Sites” (Hong Kong Arts Centre, Hong Kong Fringe Club and the Artist Village of Cattle Deport for instance), “Industrial Buildings”, “Commercial Buildings/Shops”, “Shopping Centres” and “Public Space”31. Among these ten categories of the sites, Commercial Buildings/Shops hosted 32% of the total exhibition numbers was the highest record, and the cumulative exhibition days accounted for 33% of the total. What was the proportion of exhibitions held at shopping centres? Apart from Commercial Buildings/Shops where the largest numbers of exhibitions were held, Government Cultural Venues hosted three tenths of the total exhibitions, followed by Non-profit Organization Sites (13%). Shopping Centres accounted for 7% of the total, next to the above three types of sites. The exhibitions number of these four types of sites constituted for 80% of the total exhibitions. How many exhibitions were organized/curated by arts/cultural units? With the 1,404 exhibitions divided according to the nature of organized/curatorial units, it was found that Arts/Cultural Units presented the largest number of exhibitions, followed by Art Galleries. These two categories accounted for more than half of the total number of exhibitions, with the cumulative exhibition days accounting for four tenths of the total. (see Figures 5.12 and 5.13) How many arts and cultural organizations participated in 2007/08? There were 883 units held a total of 1,404 exhibitions in 2007/08. Of these 883 units, 761 units can be classified into seven categories: Arts/Cultural Units, Art Galleries, Educational Units, Government/ Public bodies, Other Units, Overseas Organizations and Mixed Units (i.e. more than one types of these units collaborated in a single exhibition). A total of 401 arts & cultural organizations spread over four categories of organized/curatorial units (namely, Overseas Organizations, Art Galleries, Mixed and Arts/Cultural Units). What impact did the exhibition sites and the organizing/curatorial organizations have on the medium of exhibition? According to the data, Drawing had the highest exhibitions number and accumulated exhibition days. One of the reasons could be related to the space of the sites. Large-scale exhibitions (displaying vast sculpture or installations for instance) are unlikely to host in most commercial buildings owing to the limited floor area and ceiling height. In comparison, exhibitions with less rigorous requirements on space (such as Calligraphy, Painting and Seal Carving, Drawing, and Photography) will have more chances to be held at such venues. At the same time, most of the exhibition sites in commercial buildings are leased by art galleries (see Figures 5.7 and 5.8), which place emphasis on contemporary art works with mostly Drawing and Photography exhibitions. For these reasons, Drawing and Photography accumulated the higher exhibition numbers and cumulative exhibition days.

31 Detailed description of the classifications refer to the Statistical Classifications for Visual Arts section. (P.169)

168 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Statistical Classifications for Visual Arts 1. Data were analyzed in accordance with the 14 categories of different media listed in the Hong Kong Visual Arts Yearbook. They are: “Calligraphy, Painting and Seal Carving”, “Drawing”, “Block Printing”, “Sculpture”, “Ceramics”, “Photography”, “Mixed Media and Installation”, “Electronic”, “Mixed Art-forms”, “Architecture”, “Design”, “Children Art”, “Antiquities” and “Others”. Exhibition which involves two media are listed under the type of medium that dominated the exhibition. For example, photographic installation is listed under “Photography”, if characteristic aspects of photography are emphasized in the exhibition. Among those:

• “Drawing”, is for painting in any medium or mixed media; • “Mixed Media and Installation”, is for three-dimensional works of art and also performance art; • “Electronic” is for works of art involving the use of videos and computers; • “Mixed Art-forms”, is for different media displayed on the same occasion; • “Architecture” and “Design”, only include exhibitions focusing on creative works.

2. Classification of types of exhibitions and their definitions:

• “One-off Exhibition” refers to an exhibition that is held just once for the same exhibition theme and its duration is usually limited; • “Roving Exhibition” refers to an exhibition that travels from venue to venue with the same exhibition theme; • “Concurrent Exhibitions” refer to a number of exhibitions under the same theme that are held at different venues at the same time; • “Permanent Exhibition” refers to the exhibits of the show being displayed without any changes for years.

3. Classification of exhibition sites and their definitions:

• “Public Art/Antiquities Museums” refers to art museums and antiquities museums under LCSD, such as the Hong Kong Museum of Art, the Hong Kong Heritage Museum etc. which do not lease their premises to the public for exhibition purposes. • “Government Cultural Sites” refers to government venues available for lease by the public for exhibition purposes, such as the Hong Kong Visual Arts Centre, exhibition galleries/halls in the performance facilities, the Exhibition Gallery of Hong Kong Central Library, the exhibition hall of the Hong Kong Film Archive, the Hong Kong Convention & Exhibition Centre, etc. • “Other Government Sites” refers to venues of government and public bodies other than “Public Art/Antiquities Museums” and “Government Cultural Sites”. For example, office buildings of government departments, hospitals, the Central Police Station Compound, etc. • “Art/Antiquities Museums in Universities” refers to the art museums and antiquities museums in local universities, including: the University Museum and Art Gallery, and the Jao Tsung-I Petite Ecole of the University of Hong Kong; the Art Museum, and the Tsui Museum of Art of the New Asia College in the Chinese University of Hong Kong.

169 • “Campuses” refers to school premises other than “Art/Antiquities Museums in Universities”, such as the exhibition spaces in libraries, art galleries, painting galleries, etc., with secondary school campuses included. • “Non-profit Organization Sites” refers to the exhibition venues at Hong Kong Arts Centre, Hong Kong Fringe Club and the Cattle Depot Artist Village. It also includes such exhibition venues like the office buildings, museums and galleries at non-profit premises, such as community complexes and community halls etc. • “Industrial Buildings” refer to the galleries and studios located in factory buildings. • “Commercial Buildings/Shops” includes the lobbies of office buildings, as well as galleries and exhibition sites in any floor. • “Shopping Centres” refers to the indoor and outdoor areas of all sized shopping centres, and the exhibition spaces within the shops. • “Public Space” includes footbridges, streets, pedestrian areas, and also the passageways in metro stations and ferry terminals.

4. All figures are rounded off.

170 Hong Kong Annual Arts Survey 2007/08 Visual Arts

5. Annual Figure 5.1 Distribution of Exhibitions by Type Numbers of

Exhibitions Roving Exhibition and 60 Concurrent Exhibitions 4.3% 44 Cumulative 3.1% Exhibition Permanent Exhibition 6 Days 0.4%

1,402 exhibitions*

One-off Exhibition 1,292 92.2%

* There were 2 out of the total 1,404 exhibitions that could not be classified due to lack of detailed record.

A total of 1,404 exhibitions were held at 299 different venues in Hong Kong in 2007/08. Exhibitions can be classified into four types in terms of display methods and period: One-off Exhibition, Roving Exhibition, Concurrent Exhibition and Permanent Exhibition.

A “One-off Exhibition” refers to an exhibition that is held just once for the same exhibition theme and its duration is usually limited. A “Roving Exhibition” refers to an exhibition that travels from venue to venue with the same exhibition theme. “Concurrent Exhibitions” refer to a number of exhibitions under the same theme that are held at different venues at the same time. “Permanent Exhibition” refers to the exhibits of the show being displayed without any changes for years.

From the chart showed above, over 90% of the 1,404 exhibitions were One-off Exhibitions. On average, each of the 299 different venues had 5 exhibitions staged. To the public, there was an average of 27 different exhibitions to choose from during each week of the year.

171 Figure 5.2 Cumulative Exhibition Days by Type

Roving Exhibition 1,846 Concurrent Exhibitions 5.5% 1,830 5.5% Permanent Exhibition 1,921 5.8%

33,268 days*

One-off Exhibition 27,671 83.2%

* There were 12 out of the total 33,280 cumulative exhibition days that could not be classified due to lack of detailed record.

The attendances of exhibitions were unable to obtain, but the number of exhibition days could be counted. There were a total of 33,280 days cumulated. Excluding 12 days accumulated from two exhibitions that could not be classified due to lack of detailed record, the highest number of cumulative exhibition days was found in One-off Exhibition category with a total of 27,671 days.

Permanent Exhibitions represented less than 1% of the total number of exhibitions showed in Figure 5.1, and accounted for 5.8% of the total cumulative exhibition days in Figure 5.2. These charts therefore indicated that over 90% of the exhibitions were One-off Exhibitions and the total cumulative exhibition days were accounted for over 80%. For this reason, exhibitions that the public could choose from on any week were not predominated by Permanent Exhibitions but One-off Exhibitions with different themes. Repeated exhibitions were rare.

172 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.3 Number of Exhibitions by Medium

387 Drawing 27.9%

Photography 231 16.7% Calligraphy, Painting and 196 Seal Carving 14.2% Mixed Art-forms 193 13.9% Mixed Media and 88 Installation 6.4% Others 56 4% Sculpture 49 Medium 3.5% Design 45 3.2% Antiquities 43 3.1% Electronic 27 1.9% Children Art 26 1.9% Ceramics 25 1.8% Block Printing 14 1% Architecture 5 0.4%

0 100 200 300 400 500

Number of Exhibitions

* There were 19 out of the total 1,404 exhibitions that could not be classified due to lack of detailed record.

The Hong Kong Visual Arts Yearbook recorded a total of 1,404 exhibitions held in Hong Kong and 112 exhibitions held overseas by local artists in 2007/08. Of the 1,404 local exhibitions, excluding 19 of them that could not be classified due to incomplete information, the largest group was Drawing (28% of the total exhibitions), followed by Photography (17%). The number of “Calligraphy, Painting and Seal Carving” was close with the number of “Mixed Art-forms”, both accounting for around 14% of the total.

The types of media were adopted from the Hong Kong Visual Arts Yearbook. “Drawing” refers to painting in any medium or mixed media. “Mixed Media and Installation” refers primarily for three- dimensional works of art and also performance art. “Electronic” refers to the works of art involving the use of videos and computers. “Mixed Art-forms” refers to an exhibition for different media displayed on the same occasion. Both “Architecture” and “Design” refer to an exhibition focused on creation.

173 Figure 5.4 Cumulative Exhibition Days by Medium

Drawing 8,046 24.4% Antiquities 4,747 14.4% 4,514 Mixed Art-forms 13.7% 3,847 Photography 11.7%

Calligraphy, Painting and 3,173 Seal Carving 9.6% Mixed Media and 2,217 Installation 6.7% 1,810 Medium Ceramics 5.5% 1,329 Design 4% 1,262 Sculpture 3.8%

Others 959 2.9% 428 Electronic 1.3% 299 Block Printing 0.9% 199 Children Art 0.6% 107 Architecture 0.3%

0 2,500 5,000 7,500 10,000 12,500

Cumulative Exhibition Days

* There were 12 out of the total 33,280 cumulative exhibition days that could not be classified due to lack of detailed record.

In terms of the cumulative exhibition days, the highest number of 8,046 days was recorded in Drawing, which also had the highest number of exhibitions, accounting for 24% of the total exhibition days. On average, each of the 387 Drawing exhibitions displayed for 20.8 days.

Figure 5.3 showed that there were a total of 43 Antiquities exhibitions during the year, but their cumulative exhibition days were next to Drawing, accounting for 14% of the total exhibition days. On average, each of the Antiquities exhibition was held for 110.4 days.

In terms of exhibition numbers, Photography fell behind Drawing, but in terms of cumulative exhibition days it was far behind Antiquities and Mixed Art-form. With a total of the 231 Photography exhibitions, each of them displayed for 16.7 days on average.

174 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.5 Distribution of Exhibitions by District

New Territories 159 11.3%

Kowloon 374 26.6%

1,404 exhibitions

Hong Kong Island 871 62.0%

When the exhibitions were tabulated by displaying areas in Hong Kong, exhibitions held in Hong Kong Island accounted for around 62% of the total numbers, for those held in Kowloon accounted for around 27%, and fewer held in New Territories.

175 Figure 5.6 Cumulative Exhibition Days by District

New Territories 5,725 17.2%

Kowloon 7,924 33,280 days 23.8%

Hong Kong Island 19,631 59.0%

Hong Kong Island had the highest number of cumulative exhibition days of 19,631.

On average, each of the 871 exhibitions staged in Hong Kong Island was held for 22.5 days, each of the 374 exhibitions staged in Kowloon was held for 21.2 days, and each of the 159 exhibitions staged in New Territories was held for 36 days.

176 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.7 Number of Exhibitions by Site

Commercial 445 Buildings/Shops 31.7% Government 423 Cultural Venues 30.1% Non-profit 180 Organization Sites 12.8% 104 Shopping Centres 7.4% 81 Campuses 5.8% Site Art/Antiquities Museums 50 in Universities 3.6% Public Art/Antiquities 46 Museums 3.3% 41 Industrial Buildings 2.9% 17 Other Government Sites 1.2% 17 Public Space 1.2%

0 100 200 300 400 500 Number of Exhibitions

* 1,404 exhibitions

To facilitate the long-term tracking of the use of venues, the 299 sites can also be classified into ten categories according to their nature. They include: “Public Art/Antiquities Museums” (e.g., the Hong Kong Museum of Art), “Government Cultural Venues” (e.g., the Exhibition Gallery of the Hong Kong Central Library), “Other Government Sites” (e.g., the Central Police Station Compound), “Art/Antiquities Museums in Universities” (e.g., the University Museum and Art Gallery of the University of Hong Kong), “Campuses” (other exhibition sites not included in “Art/Antiquities Museums in Universities”), “Non- profit Organization Sites” (Hong Kong Arts Centre, Hong Kong Fringe Club and the Cattle Deport Artist Village for instance), “Industrial Buildings”, “Commercial Buildings/Shops”, “Shopping Centres” and “Public Space”32.

Among these ten categories of sites, Commercial Buildings/Shops hosted 445 exhibitions accounting for 32% of the total exhibition numbers was the highest record, followed by the Government Cultural Venues, accounted for 30% and equivalent to 423 exhibitions. In recent year, shopping malls become popular sites for hosting exhibitions, with a total of 104 exhibitions recorded in 2007/08, accounting for 7% of the total numbers.

32 Detailed description of the classifications refer to the Statistical Classifications for Visual Arts section. (P.169)

177 Figure 5.8 Cumulative Exhibition Days by Site

Commercial 11,007 Buildings/Shops 33.1% Public Art/Antiquities 7,481 Museums 22.5% Non-profit 3,529 Organization Sites 10.6% Government 2,504 Cultural Venues 7.5% Art/Antiquities Museums 2,173 in Universities 6.5% Site 2,117 Shopping Centres 6.4% 1,807 Campuses 5.4%

Industrial Buildings 1,341 4% 784 Other Government Sites 2.4% 537 Public Space 1.6%

0 2,000 4,000 6,000 8,000 10,000 12,000 Cumulative Exhibition Days

* 33,280 days

In terms of cumulative exhibition days, Commercial Buildings/Shops, accumulated with over 10,000 days and accounted for 33% of the total numbers, was the highest record among different sites, followed by Public Art/Antiquities Museums that accounted for 23%, and Non-profit Organization Sites at 11%.

Figure 5.7 and Figure 5.8 indicated that Commercial Buildings/Shops accumulated the highest records in both exhibition numbers and exhibition days. The limitations of floor area and ceiling height of these sites would create difficulty displaying certain exhibits and very few of them are spacious enough for large-scale exhibitions (e.g., vast sculpture or installation exhibitions). However, exhibitions that have less rigorous requirements on space would have more chances to be displayed at such venues. It is believed that the limitations of the sites have an indirect impact on the distribution of exhibitions with different media.

When averaged the days per exhibition in different sites, Public Art/Antiquities Museums was the highest record of hosting one exhibit for 162.6 days, followed by Other Government Sites which hosted for 46.1 days, Art/Antiquities Museums in Universities for 43.5 days, Industrial Buildings for 32.7 days, Public Space for 31.6 days, Commercial Buildings/Shops for 24.7 days, Campuses for 22.3 days, Shopping Centres for 20.4 days, Non-profit Organization Sites for 19.6 days, and Government Cultural Venues for 5.9 days.

178 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.9 Number of Exhibitions by Site Operator

Public Organizations 27 Other Organizations 1.9% 13 Educational Institutions 0.9% 131 Private Owners 9.3% 4 Business Organizations 0.3% 141 10% Government 474 33.8% Art & Cultural 1,404 exhibitions Organizations 197 14%

Art Galleries 417 29.7%

The exhibition sites can also be classified into eight categories in terms of their site operators: Arts and Cultural Organizations (e.g., Hong Kong Fringe Club), Art Galleries (e.g., Osage Kwun Tong), Government (e.g., Hong Kong Visual Arts Centre), Public Organizations (e.g., art alleys in public hospitals), Educational Institutions (e.g., University Museum and Art Gallery of the University of Hong Kong), Other Organizations (e.g., Tung Wah Museum), Business Organizations (e.g., The Landmark) and Private Owners. Among the eight categories, government-run venues recorded the highest number of exhibitions at 474, accounting for 34% of the total 1,404 local exhibitions, followed by Art Galleries (417 exhibitions accounting for 30%), Arts and Cultural Organizations (197 exhibitions for 14%).

179 Figure 5.10 Cumulative Exhibition Days by Site Operator

Educational Institutions 3,980 Art & Cultural Organizations 12.0% 3,898 11.7% Business Organizations 2,921 8.8% Government 10,255 Public 30.8% 33,280 days Organizations 1,021 3.1% Other Organizations 588 1.8%

Private Owners 52 Art Galleries 0.2% 10,565 31.7%

In terms of cumulative exhibition days, Art Galleries hosted 10,565 days or accounted for 32% of the total was the highest record, followed by Government that accumulated for 10,255 days represented 31% of the total numbers, and Educational Institutions with 3,980 days that accounted for 12%.

Averaged the days per exhibition among different site operators, Other Organizations hosted for 45.2 days per exhibition was the highest average record, followed by Public Organizations with an average of 37.8 days per exhibition, Educational Institutions with an average of 30.4 days per exhibition, Art Galleries with 25.3 days per exhibition, Government with 21.6 days per exhibition, Business Organizations with 20.7 days per exhibition, and Arts & Cultural Organizations with 19.8 days per exhibition.

180 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.11 Number of Sites by Nature of Site Operator

Government 50 16.7% Educational Institutions Business 32 Organizations 10.7% 78 26.1% Art & Cultural Organizations 299 sites 26 8.7% Other Organizations 13 4.3%

Art Galleries Public Organizations 83 Private Owners 13 27.8% 4 4.3% 1.3%

The records showed that the 299 exhibition sites can also be classified into eight categories in terms of their site operators: Arts and Cultural Organizations (e.g., Hong Kong Fringe Club), Art Galleries (e.g., Osage Kwun Tong), Government (e.g., Hong Kong Visual Arts Centre), Public Organizations (e.g., art alleys in public hospitals), Educational Institutions (e.g., University Museum and Art Gallery of the University of Hong Kong), Other Organizations (e.g.,Tung Wah Museum), Business Organizations (e.g., The Landmark) and Private Owners. Among the eight categories, Art Galleries which accounted for 28% of the total 299 sites were the largest group, Business Organizations were the next (26%), and Government were the third (17%). These three categories accounted for 70% of the 299 exhibition sites.

Compared with Figures 5.9, data indicated that an average of 9 exhibitions was held at each of the 50 government-run venues during the year. Next in order was the 26 venues operated by Arts & Cultural Organizations with an average of 8 exhibitions per venue displayed. As to the Art Galleries, where the highest number of exhibitions was held, an average of 5 exhibitions per venue was found. The 32 Educational Institution venues recorded an average of 4 exhibitions per venue displayed.

181 Figure 5.12 Number of Exhibitions by Nature of Organizer/Curatorial Unit

446 Arts/Cultural Units 31.8%

315 Art Galleries 22.4%

144 Solo/Joint 10.3%

143 Organizer/Curatorial Unit Other Units 10.2%

141 Educational Units 10%

109 Mixed 7.8%

82 Government/Public bodies 5.8%

11 Overseas Organizations 0.8%

0 100 200 300 400 500 Number of Exhibitions

* There were 13 out of the total of 1,404 exhibitions that could not be classified due to lack of detailed record.

When tabulated the 1,404 exhibitions by organizer/curatorial units, after deducting 13 exhibitions that lack of detailed record, a total of 1,391 exhibitions were examined. Arts/cultural units organized/ curated 446 exhibitions that accounted for 32% of the total was the highest record, followed by art galleries hosted for 315 exhibitions that accounted for 22%.

The chart above showed that Arts/Cultural Units and Art Galleries together constituted over a half of all exhibitions. The numbers of exhibitions organized/curated by Solo/Joint Units, Other Units and Educational Units were close, with each of the category accounting for around 10% of the total exhibitions.

182 Hong Kong Annual Arts Survey 2007/08 Visual Arts

Figure 5.13 Cumulative Exhibition Days by Nature of Organizer/Curatorial Unit

Art Galleries 8,440 25.5%

Government/Public bodies 7,582 22.9%

Arts/Cultural Units 6,019 18.2%

3,094 Mixed 9.3% Organizer/Curatorial Unit

2,754 Educational Units 8.3%

2,602 Solo/Joint 7.9%

2,471 Other Units 7.5%

Overseas Organizations 173 0.5%

0 2,500 5,000 7,500 10,000 12,500 Cumulative Exhibition Days

* There were 145 out of 33,280 cumulative exhibition days that could not be classified due to lack of detailed record.

In terms of cumulative exhibition days, 145 days from 13 exhibitions were excluded due to lack of detailed record. Exhibitions organized/curated by Art Galleries recorded the highest number of cumulative exhibition days (8,440 days), accounting for 26% of the total, followed by Government/ Public bodies (7,582 days) that represented 23% of the total, and Arts/Cultural Units (6,019 days) which accounted for 18% of the total.

On average, an exhibition organized/curated by Government/Public bodies hosted the highest number of exhibition days (92.5 days), followed by Art Galleries with an average of 26.8 days per exhibition, Educational Units for 19.5 days, Solo/Joint Units with an average of 15.7 days, and Arts/ Cultural Units with an average of 13.5 days.

183 Figure 5.14 Number of Organizer/Curatorial Unit

Other Units 111 15% Educational Units Mixed 92 195 12% 26%

Art Galleries 75 761 units 10%

Government/ Public Bodies 39 5% Overseas Organizations 12 Arts/Cultural Units 2% 237 30%

When Solo/Joint Units were not counted, there were 761 units presenting/organizing a total of 1,245 exhibitions and equivalent to 30,464 exhibition days. The chart above showed the distribution of these 761 presenting/organizing units by their nature.

Of the 195 Mixed Units (i.e. more than one type of different units co-operated in a single exhibition), 83 were also Arts & Cultural Organizations, while of the Overseas Organizations, 6 of them were also arts & cultural organizations. In fact, there were a total of 401 Arts & Cultural Organizations spread over four categories of presenting/organizing units (namely, Overseas Organizations, Art Galleries, Mixed and Arts/Cultural Units).

184 Hong Kong Annual Arts Survey 2007/08 Appendices

185 186 Hong Kong Annual Arts Survey 2007/08 Hong Kong Arts Development Council

Established in 1995, the Hong Kong Arts Development Council (ADC) is a statutory body set up by the Government to plan, promote and support the broad development of art including dance, drama, literary arts, music, xiqu, visual arts, film and media arts as well as arts education, arts criticism and arts administration in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning.

As the ADC's principal decision-making body, the Council comprises 27 members appointed by the Chief Executive of Hong Kong. Of these, 10 are elected by various arts constituencies. Overseeing the administration of the ADC, these professional and enthusiastic advocates are dedicated to the formulation and implementation of sound policies to promote the arts in Hong Kong. The Council comprises six standing committees, namely the Arts Promotion Committee, Arts Support Committee, Management Committee, Resources Development Committee, Review Committee and Strategy Committee, as well as 10 art-form groups.

The ADC also invites local arts veterans and professionals to be the arts advisors and examiners to assist in planning and implementation of arts initiatives. Arts advisors are to provide professional guidance and expertise while examiners are tasked with assessing funding applications and making grant-related recommendations.

As the bridge between the Government, arts sector and the public, the ADC is committed to the following development strategies:

• Making use of research findings to exert influence on cultural policy-making • Providing greater support to the arts community for artistic pursuit • Establishing platforms to assist arts groups in reaching out • Encouraging public participation and expanding audience base; promoting arts education and popularising the arts • Drawing arts veterans and cultivating new talents to raise professional standards of practice • Exploring community resources and fostering partnerships to promote arts development • Strengthening cultural exchanges with Mainland and overseas counterparts

For more information, please refer to the official website of the ADC: http://www.hkadc.org.hk

187 Acknowledgement

Special thanks to the following institutions/organizations and professionals for their support and input (in alphabetical orders):

Professionals:

Ms. Chan Chung-ying, Anna Mr. Chan Kin-bun Ms. Chan Kwok-wai, Bernice Mr. Cheung Ho-kin, Dominic Ms. Chin Sau-lin, Miranda Ms. Chow Pui-wan, Pewan Ms. Ho Ka-kwan, Tisa Mr. Ho Ying-fung Mr. Ip Sai-hung Prof. Kao May-ching Ms. Lam Ka-man, Carmi Mr. Law Yiu-wai Dr. Leung Chi-cheung Mr. Li Chi-kei, Danny Dr. Li Siu-leung Prof. Lo King-man Mrs. Lo-liu Yiu-chee Mr. Ou Da-wei Mr. Ting Yu Prof. Tseng Sun-man Ms. Wong Cheuk-sze Mr. Zee Yau, Eddy

Institutions:

Department of Fine Arts, The Chinese University of Hong Kong Hong Kong Fringe Club Hong Kong Academy for Performing Arts Hong Kong Arts Centre Hong Kong Baptist University Hong Kong Federation of Drama Societies International Association of Theatre Critics (Hong Kong) Jockey Club Auditorium, The Hong Kong Polytechnic University Leisure and Cultural Services Department Sunbeam Theatre

188 Hong Kong Annual Arts Survey 2007/08 Arts Groups/Organizations

Alan & Becky Dance Group BGCA Jockey Club Tsz Wan Shan Children and Youth Integrated Services Centre Cantonese Opera Promotion Association Cheung Chau Cantonese Music Association Cheung Mei-chun Ballet School Chung Sing Cantonese Opera Group DG House Fai Ying Opera House Golden Palace Cantonese Musicals Troupe Hong Kong Bach Choir Hong Kong Federation of Trade Unions Cultural & Arts Advancement Association Hong Kong Medical Association Hong Kong Music Institute Hong Kong Professional Piano Education Association Hosanna Chanters Infield Opera House Kwai Tsing Festival Coordination Committee Kwun Tong Resident Association Les Six Muk Lan Song and Dance Group Muses Arts Troupe of Hong Kong Music Association, Wah Yan College, Kowloon Musical Hints Ningfung Art Association PLK Siu Hon Sum Primary School S.K.H. Chi Fu Chi Nam Primary School Shaklee Hong Kong Limited Sing Wan Cantonese Traditional Music Society Sunny Cantonese Opera Troupe Tak Fook Opera House Theatre Ensemble Limited Trinity Theatre Tsuen Wan Culture & Recreation Co-Coordinating Association Wanchai Theatre Ying Wah Cantonese Opera Troupe Yuen Long Opera Artist Club 鳳星輝粵劇團樂樂居粵劇場粵韻曲藝粵劇社（葵青分社）

189 Planning and Research Team

Consultant:

Prof. Hui Cheuk-kuen, Desmond

Members of the Steering Committee:

Mr. Ma Fung-kwok Prof. Chan Ching-kiu, Stephen Mr. Chung Shu-kun, Christopher Dr. Wong So-lan Ms. Yao Yue Mr. Yu Kwok-lit, Louis

Research Planning and Execution:

Ms. Angela Yu

Team members:

Ms. Betty Mak Ms. Eileen Mok Ms. Phoebe Cheung Ms. Grace Leung Ms. Gladys Lau Ms. Stephanie Ng Mr. Calvin Ho Ms. Nadia Kwok

190 Hong Kong Annual Arts Survey 2007/08 Other Related Arts Surveys and Statistics

Hong Kong Annual Digest of Statistics 2008, Census and Statistics Department

Hong Kong Visual Arts Yearbook, 2007 and 2008, Department of Fine Arts, The Chinese University of Hong Kong

Hong Kong Drama Yearbook, 2007 and 2008, International Association of Theatre Critics (Hong Kong)

Survey On Performing Arts Programmes 2004, Leisure and Cultural Services Department

Consultancy Study on the Provision of Regional/District Cultural and Performance Facilities in Hong Kong, November 2002, Leisure and Cultural Services Department

Cultural Facilities: A Study on Their Requirements and the Formulation of New Planning Standards and Guidelines, December 1999, the Planning Department

Survey on the Needs of Artists Who are Possible Recipients of the ADC Grants, November 1999, Hong Kong Arts Development Council

Statistics on Number of Performances and Attendance at the Cultural Venues under the LCSD (2006/07-2008/09): http://www.lcsd.gov.hk/b5/ppr_statistic_cs.php

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Hong Kong Annual Arts Survey 2007/08