Reimagine Chinese Calligraphy – A Groundbreaking Journey Through Theatre Reimagine Chinese Calligraphy – A Groundbreaking Journey Through Theatre Reimagine Chinese Calligraphy – A Groundbreaking Journey Through Theatre

Dr. Kan Tai-keung, the programme’s special guest curator and artistic consultant, highlighted that participants could “break away from traditional theatrical forms and approach calligraphy from a fresh perspective.”

Venturing into the “forbidden ground” of backstage, participants were amazed as arts tech in the theatre engaged their senses, connecting them with the space and the guides. The journey began with a lively prologue by the Grey Monkey King, dividing participants into groups. Using an immersive sound system, the Grey Monkey King unfolded the tales of the emergence of Chinese characters and the grid templates, namely, the Nine Palaces Grid, the Grid of the Rice character; the Grid of the Palace Hui and the Grid of Convergence. As other groups were traversing other thematic universes, the Grey Monkey King sang a catchy song in the Genesis Universe to illustrate Chinese character structures.

Children found the surround sound effect impressive, leaving a lasting impression of the forms of Chinese characters. “In this tech era, sound, visuals, and text are inextricable. Sensitising children to Chinese aesthetics in calligraphy inspires creativity,” Mathias shared, explicating the relationship between the Genesis Universe with arts tech design in theatre.

Entering a blank white expanse, the undulating ceiling floats in the Five-script Universe. Projected are the five scripts of calligraphy: seal script, clerical script, standard script, running script, and cursive script. Gordon, performed as the White Monkey King, made a gradual entrance. He offered a musical interpretation of the five scripts with his harmonica, mimicking varying writing speed and rhythm. The ceiling, rising and falling, echoed the pattern of gentle breaths. According to Woo, “participants can perceive the abstractions beneath each Chinese script visually and aurally,” while “developing their own spatial relationship.” Children began to move to the music.

Eight-year-old Lam Fong Ting exclaimed, “I like the White Monkey King the most,” and was impressed by the fun experience of “exploring the theatre with the guide of our group, it was so much fun.”

Participants then entered the Ink Pond Universe and were welcomed by the scent of ink and Yu Yat Yiu’s jolly tunes. The two Black Monkey Kings demonstrated ink grinding spells, moving to mimic the process of ink-grinding and writing, interpreting brushwork of varying strength. As Eastern Jin Dynasty calligraphy maestro Lady Wei, formerly known as Wei Shuo, details in the Map of Strokes Disposition, a valuable calligraphy manual which demonstrates“awe-inspiring calligraphy embodies style and power in each stroke.”. The Monkey Kings then turned water into ink and showcased calligraphy on their work aprons.

Kids found it “majestic”, while one parent, Ng Ka Wai, remarked, “never have I seen this kind of theatrical presentation. Despite my limited exposure, this interactive and innovative approach to learning calligraphy in such a captivating setting was truly enjoyable. I am truly grateful for the experience.”

After plunging into the Ink Pond Universe, participants acknowledge that ink makes an indispensable part of calligraphy. Next, Dr. Chui Pui Chee, the Calligraphy Consultant, guided them through basic calligraphy skills in the Calligraphy Universe. Through individual TV screens, participants observed Dr. Chui’s demonstration and learnt about The Eight-Step Stoke Pattern of the Yong character. Dr. Chui moved among the participants to offer personalised advice.

Many children, experiencing calligraphy for the first time, became fully engaged in the writing process. Woo emphasised, “though innovation is possible in calligraphy, mastering its fundamental skills is crucial. In this setting, unlike video-streaming platforms, 70 participants, children and adults alike, can closely observe Chui’s technique and interact with him. Children can thus experience the immediacy of theatre. That is the potential technology offers.”

After the finale, each child received a set of Chinese Culture PLAY + LEARN Learning Kit, which includes paper, brush-pen, ink, inkstone, and a calligraphy booklet illustrated by comic artist Lai Tat Wing. Miss Wu from the Caritas Blissful Life Parents Resource Centre stated it was “perfect” and expressed her wish to continue learning calligraphy herself. She appreciated that the tool kit would enable children to practise, help nurture their interest in calligraphy, and allow them to build on what they had learned.

Chinese Culture PLAY + LEARN Learning Website

Miss Wu also commended the thoughtful provision of transportation by the Jockey Club, which she felt was considerate, as it incentivised children of all ages to engage with arts. The Camp attracted over 2,300 participants, primarily from twenty-nine social welfare institutions and schools. The beneficiaries were mainly grassroots families, students with special educational needs, new arrivals, etc.

The Programme, funded by The Hong Kong Jockey Club Charities Trust, which kicked off in July 2023, is a 30-month-long endeavour. It aims to promote Chinese culture through a series of theatre and art programmes that integrate arts-tech theatre performances and activities, music and installations, community workshops and internships. Tapping into the potential of technology, it engages people from every walk of life to get closer to Chinese culture and explore our traditions, aesthetics and wisdom.

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