The recent tour conducted by the Hong Kong Gaudeamus Dunhuang Ensemble is a component of the city’s broader initiatives aimed at strengthening cultural connections abroad.

Emerging musicians from Hong Kong are reviving the “vanished melodies” of ancient China via innovative creations and have debuted these works in the West for the first time with trailblazing performances in London and Paris.

The recent tour conducted by the Hong Kong Gaudeamus Dunhuang Ensemble forms part of broader initiatives by the city aimed at building cultural connections abroad.

From 2018 onwards, the ensemble has staged over 60 performances across Hong Kong, mainland China, and Tokyo.

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The event took place during the international Museum Summit on March 27, marking the conclusion of a series of prominent cultural activities held in Hong Kong throughout the month.

However, the “Go West” tour was a milestone, enabling European audiences to encounter this type of music for the very first time.

Leonie Ki Man-fung, the founder and honorary director of the ensemble, mentioned that the musicians have brought her vision to life—reviving music depicted in murals and found in musical scores from the ancient Dunhuang caves in Gansu Province, northwestern Mainland China, which trace back to as early as the 4th century.

“Music embodies emotions. The murals may be lifeless, but once you listen to the music, it resonates with your heart,” she stated.

The current objective is to bring this to a global audience, highlighting Hong Kong, raising awareness about the cultural riches of Dunhuong, and motivating young individuals to engage with Chinese heritage.

“Culture and civilization ought to know no bounds; they shouldn’t be confined by borders,” Ki stated.

At a gathering celebrating the inaugural performance, hosted by the British Library in London, she informed attendees that having the chance to play in front of an audience from Europe was incredibly valuable.

The performance, jointly presented by the ensemble along with Hong Kong’s ETO office in London towards the end of February, showcased ten new compositions crafted by resident composers Kam Shing-hei and Chu Kai-yeung.

Historic Dunhuang was a bustling stopover in an oasis along the Silk Road, hosting a variety of cultural influences. It has similarities to present-day Hong Kong, which serves as China’s “superconnector” and embraces multiple cultures within its urban landscape.

Ki stated, “The objective is to preserve and safeguard the culture while also advancing it. It’s crucial we stay aligned with contemporary trends and youth perspectives. Our aim is for the younger generation to embrace Chinese culture.”

Kam and Chu stated that their compositions assisted them in addressing queries related to their personal identities as well as those of the people from Hong Kong.

Chu stated, “I had an identity crisis. I wasn’t certain about why I was composing music. I was searching for my personal expression and distinctive style.”

Many people claim Hong Kong is a cultural wasteland. However, it houses numerous cultures in one location. So, what exactly is this culture accomplishing?

Kam stated that the question of identity played a crucial role in the composers’ creative process, noting that Dunhuang had aided him in grasping the significance of being an artist in Hong Kong.

“Through our music, we try to pursue the authenticity of culture or of music itself,” he said.

Dunhuang owed much of its cultural fabric to Buddhism, he further noted, and this philosophical aspect served as the “primary attraction” for young people from Hong Kong.

The musical pieces were showcased alongside over 50 artifacts from the cave exhibited at the British Library, with numerous items being presented publicly for the very first time.

Luisa Elena Mengoni, who leads the British Library’s Asian and African collections, stated that the group was an ideal addition to the cultural events accompanying the exhibition.

“The display of traditional instruments and their variety was highly beneficial for the UK audience. This presented numerous advantages from various perspectives,” she stated.

Mengoni also mentioned that Hong Kong’s cultural landscape was “incredibly dynamic.”

We remain deeply dedicated to maintaining our engagement with institutions in Hong Kong and leveraging the insights gained from previous years, further strengthening the relationships we have already formed.

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she said.

The event was graced by the presence of Wang Qi, who serves as a minister at China’s embassy in the UK, along with Gilford Law, the then-director general of the local ETO. Also in attendance were scholars, representatives from museums, participants in international Dunhuang initiatives, and members of the broader community.

Law mentioned that this significance is particularly noteworthy due to the numerous historical and cultural connections between Hong Kong and the United Kingdom. He further stated, “This performance highlights the ability of music to commemorate global camaraderie.”

The importance of Hong Kong’s contribution to “enhancing global cooperation and exchange” was emphasized in Chinese Premier Li Qiang’s address during the crucial “two sessions” political gatherings held in Beijing recently.

Law mentioned that the ETO executed 26 cultural initiatives in the previous year, covering areas such as fashion, film, music, and theater, with the aim of enhancing comprehension about Hong Kong and its cultural landscape.

The group, which included pupils from the Hong Kong Academy of Performing Arts, participated in exchange sessions at the School of Oriental and African Studies and University College London prior to concluding their visit with a sixty-minute performance at the Chinese Cultural Centre in Paris.

Ki mentioned that the tour helped the group explore new opportunities and establish fresh relationships, and they were invited to come back to Europe.

She mentioned that the ensemble will keep working towards acting as a “cultural envoy” by reviving the ancient Dunhuang melodies.

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