Eventide Conversations

In partnership with Hong Kong Arts Administrators Association

Presented by: Hong Kong Arts Administrators Association and Australian Performing Arts Market

The project is supported by the National Foundation for Australia-China Relations

Program curated by:

Ching Ching Ho (Independent Director and Producer)

Heidi Lee (Executive Director of Hong Kong Ballet)

Exploring the possibilities in the age of social distancing, HKAAA and APAM jointly present ‘Eventide Conversations’ – a virtual cultural exchange between Hong Kong and Australia.

The series of talks and workshops will be held from April to November 2021 and provide opportunities for engagement and knowledge exchange between arts and cultural leaders in Hong Kong and Australia.  The series a will explore new and emerging strategic challenges facing artists and arts organisations in the wake of Covid-19, accessing the best thinking from both countries and allowing participants to apply shared concepts and frameworks as they rebuild and re-energise post-COVID.

View the recorded sessions on our Resources page.

VIEW RECORDINGS
    MEET THE CURATORS

    Ching Ching Ho
    Ching Ching Ho is an independent director and producer, born in Hong Kong working in Narrm (Melbourne). Her practice is informed by an ongoing examination of intercultural collaboration, translation and multilingual framework in theatre and contemporary performance.     As Producer, Ching Ching has worked on Oedipus Schmoedipus (Asia TOPA, University of Melbourne, Union House Theatre, post & Hong Kong Repertory Theatre, 2020); Between 8 & 9: Chengdu Teahouse Project (Chamber Made & Sichuan Conservatory of Music, 2017). As Director, Ching Ching has co-directed A Ghost In My Suitcase (Barking Gecko Theatre, 2018-19); directed The Lotus Playwriting Project (Playwriting Australia & Contemporary Asian Australian Performance, 2015); created Approximate Translation (Malthouse, 2016) and 7412 Kilometre of Relations (Big West Festival, 2016). As Assistant Director, Ching Ching has worked on The Caucasian Chalk Circle (Black Swan State Theatre Company & National Theatre of China, 2016); The Good Person of Szechuan (Malthouse & National Theatre of China, 2014). Ching Ching is a participant in Theatre Network Australia’s Power Play: New Advocacy Program (2020-21), a panel member of Green Room Association Awards’ Contemporary and Experimental Performance Panel (2016-18), and a participant in Melbourne Theatre Company’s Women Directors Program (2015).

    Heidi Lee
    Heidi Lee is now the Executive Director of Hong Kong Ballet. She has served as a professional arts administrator for 25 years, working for various Hong Kong arts organisations on their management, planning, programming, marketing and branding, including PIP Cultural Industries Ltd., Hong Kong Dance Company, Hong Kong Repertory Theatre, Hong Kong Cultural Centre and Hong Kong Fringe Club, among others.  In 2010, Lee was appointed Executive Director of Cheung Kong School of Art and Design at Shantou University. She became the Associate Dean in 2014 and Director of Arts & Cultural Development of STU Arena in 2018. During her eight years at Shantou University with the support of the Li Ka Shing Foundation, Lee founded the STU Art Season, which she later transformed to the New Wave Arts Festival in 2018. She became Chief Executive of Intercultural Dialogue, the organiser of Matteo Ricci, when she returned to Hong Kong in 2019. Lee is an Assessor for the Hong Kong Arts Development Council on Arts Administration, Dance, Arts Education, and also a Fixed Assessor for the Council on the Hong Kong Dance Alliance (2017-2019). Additionally, she was a core member of the Producers’ Network Meeting & Forum of West Kowloon Cultural District of Hong Kong (2015-2018), Management Consultant of the Hong Kong Arts Administrators Association (July-December 2019), and has been a member of the Advisory Board of The Hong Kong Academy for Performing Arts Dance School since 2019. In 2014, Asian Cultural Council awarded Lee a scholarship to visit the United States, where she interviewed more than twenty arts leaders about their management and operation models. Organisations included Lincoln Center for the Performing Arts, The Public Theater, B.A.M and Lower Manhattan Cultural Council. She also researched the content and direction of cultural management programmes at Columbia University, New York University and Yale University.