Last week, I had an incredible opportunity to witness the mesmerizing performance of “Moaka na ndima or the aka pygmy in the forest” in Paris, presented by the Ndima Group from the Republic of Congo. The concert is one of the events of the Rhizomes Festival which offers people appointments from July 1 to 23, 2023 to celebrate the “All-World”, its rhythms, sounds and wonders from the five continents, through an anthology of cross-cultural encounters, free concerts and magical walks between old oaks, young shoots and other wild grasses.
“Moaka na ndima” was an amazing and emotional journey into the equatorial forest, where we explored the history of the aka man and his musical heritage which is currently threatened with extinction. The musicians of the Ndima Group showcased their unique vocal techniques as well as the expression of the bewitching melodies with chordophones.
“Moaka na ndima” truly showed us the lively Aka Pygmy musical tradition. With their diverse songs, the Ndima Group took us on a journey to the forest, making us value this endangered cultural heritage.
At the same time, after watching the performance of the Ndima Group, my friend and I were deeply moved and also felt that music knows no borders. They excel at using natural “gifts” as instruments, which is similar to many artistic performances in China. My research topic aims to explore how mainland China and Hong Kong’s high-quality art and culture can have the opportunity to receive international support, perform on a global stage, and gain recognition worldwide, just like the Ndima Group.
PS: Rhizomes 2023 also supported by Institutional and financial partners (including The Ministry of Culture, France) and cultural and media partners.
Last weekend, I had the pleasure of visiting London’s Prince Charles cinema, which is “the last of the independents still operating in London’s cine-famous ‘West End’” as the cinema’s introduction shown in the website.
In this cinema, I watched a Taiwanese film “Yiyi: A One and a Two” directed by the renowned filmmaker, Mr. Edward Yang. Although Yiyi (2000) is often regarded as one of the greatest Taiwanese films ever made, it was not officially released to the public in Taiwan until 2017. “Yiyi: A One and a Two” itself was a cinematic masterpiece, a reflection of Mr. Edward Yang’s directorial genius. The film delves deep into the complexities of human relationships, navigating the intricacies of family dynamics, personal struggles, and the passage of time. With its meticulously crafted storytelling, nuanced performances, and thought-provoking themes, “A One and a Two” resonated with audiences, eliciting a range of emotions and fostering a sense of empathy.
With a runtime of 173 minutes, the film aligns itself with the hallmarks of Taiwanese literary films. It adopts a deliberate and unhurried pace to tell the oridinary individuals’ stories. Even though, every line and fragment in the movie carries a deep significance that resonates with me, evoking a sense of familiarity and emotional connection. Through this, I grasp the essence of the line in the film that states, “You may not see it on your own, so I will reveal it to you.”
The film maintains its authenticity by utilizing the original soundtrack, featuring a blend of Mandarin and the local Taiwanese dialect. English subtitles were thoughtfully provided, allowing viewers to fully immerse themselves in the language and cultural nuances of the film. And what struck me was the remarkable diversity among the audience, with a significant number of non-Asian viewers in attendance. As the film reached its conclusion, the audience erupted in applause—a sight distinct from my experiences in China.
Beyond the disparities in culture, language, and individual traits, cinema possesses a remarkable ability to bridge cultural gaps, evoke profound emotions, and ignite insightful dialogues. It stands as a testament to the timeless influence of storytelling, transcending barriers and uniting diverse audiences, regardless of their backgrounds.
“War of the Genders” (男亲女爱） is a Hong Kong television sitcome produced by TVB. It orginally aired on TVB Jade from 21 Feb to 7 July 2000, totalling 100 episodes. It revolves around the office workers employed at C.K. Law Firm, a fictional law firm located in Central, Hong Kong.
The poster of “War of the Genders”
“War of the Genders” is a TV series set in Hong Kong and primarily focuses on exploring gender dynamics and relationships. While the series may not explicitly delve into broader Hong Kong characteristics, it can still provide some insights into the city’s cultural context and social dynamics. Here are a few characteristics that I glean from “War of the Genders”:
Urban lifestyle: The show presents glimpses of the fast-paced urban lifestyle that is characteristic of Hong Kong. It may portray the hustle and bustle of city life, the crowded streets, and the vibrant energy of a cosmopolitan metropolis.
Multilingualism: “War of the Genders” may reflect the linguistic diversity of Hong Kong. The characters may speak a mix of Cantonese, English, Mandarin, and potentially other languages, showcasing the multicultural and multilingual nature of the city.
Social dynamics: The series may touch upon social dynamics and interpersonal relationships within Hong Kong society. It might explore themes of gender roles, societal expectations, and cultural norms that influence the interactions between men and women in the city.
Hong Kong slang and humor: “War of the Genders” may incorporate local Hong Kong slang and humor, giving viewers a taste of the unique linguistic expressions and comedic styles prevalent in the city.
Cultural references: The show might make references to local customs, traditions, or festivals that are specific to Hong Kong, providing insights into the cultural backdrop against which the story unfolds.
Even “War of the Genders” can offer glimpses into certain Hong Kong characteristics, it is a fictional portrayal and may not capture the full breadth and depth of the city’s cultural and social aspects.
Hong Kong West Side Stories (2019)
Netflix, a prominent online streaming platform, is actively expanding its collaboration with various countries and regions to co-develop drama series. Leveraging its robust resources and stringent quality control, Netflix has consistently delivered blockbuster productions. I happened watch “Hong Kong West Side Stories” in Netflix. It is a dark comedy reflecting what the socitey really alike in Hong Kong in recent years. It shows the confusion and anxiety of the life of the young generation in Hong Kong. The most attractive factor for me is that each episode of the show has an independent story, and behind every story, all come from real social news events.
In recent years, there has been a noticeable rise in unit dramas adapted from online novels in Hong Kong. While these dramas haven’t gained much popularity in mainland China, they have garnered significant attention within Hong Kong. This could be attributed to several factors. Firstly, the inclusion of local Cantonese expressions and colloquialisms, as well as Cantonese-specific swear words, may resonate more with native Cantonese speakers. Additionally, the storytelling approach, characterized by dark humor, may only be fully appreciated by those who are familiar with the local context and can understand the underlying meaning behind it.
CHANGE
As the tides of time shift, cities like Hong Kong, where the harmonious fusion of Eastern and Western cultures thrives, continue to evolve. The people of Hong Kong, immersed in this dynamic environment, must bravely confront and adapt to these ongoing changes.
From the 2000s hit series War of Genders,” which amusingly depicted the daily lives of white-collar professionals in Central, to current Hong Kong TV dramas like “Hong Kong West Side Stories,” adapted from online novels with a darkly humorous twist that reflects social issues, the landscape of TV productions is constantly evolving. These film and television works capture the essence of the times, employing local language and portraying the lifestyle and environment of Hong Kong residents, even for audiences who have never set foot in the city. Simultaneously, they shed light on prominent societal concerns. Hong Kong’s culture shares similarities with both the West and mainland China, yet it possesses distinct characteristics of its own. Going forward, the question of whether TV dramas should cater to the preferences of the public or even the mainland audience’s tastes is a topic I hope to explore and discuss further within the project.
