Join the Symposium
Innovation in Performing Arts Education Symposium in Hong Kong (June 15 – 17, 2017)
Innovation in Performing Arts Education Symposium in Hong Kong (June 15 – 17, 2017)
Innovation in Performing Arts Education Symposium 2017
Hong Kong, 15-17 June, 2017
Theme: Performance, Possibilities, Pedagogy
The Hong Kong Academy for Performing Arts will host a symposium in June 2017 focusing on the innovative and performance aspects of using technology to enhance learning in the performing arts.
This symposium with the theme of “Performance, Possibilities, Pedagogy” is an ideal opportunity for Hong Kong (and international), performers, innovators and educators to:
Share exemplary practice in relation to performing arts Teaching and (e)Learning
Explore the changing educational landscape both locally and internationally as impacted by technology in Performing Arts Education
Celebrate and Showcase achievements to date in the area of Teaching and Learning Innovation and Performance
Investigate new approaches and models for Teaching and Learning
Explore innovative performance possibilities
Speaker and Performer List - International & Local
David Glass, Artistic Director @ David Glass Ensemble
Creative Process – Modes, Models and Care
David Glass has performed, directed and taught in over seventy countries. Trained at the Lecoq school in Paris he has also studied with Augusto Boal, Growtowski, Peter Brook, Alvin Ailey and Mike Alfreds.
David worked as a soloist performing in forty countries before establishing the David Glass Ensemble in 1990 and winning international awards including TMA award for best director for his adaptation of Gormenghast. He developed the widely internationally adopted five-stage practical Creative Process and through his forty years of work he has been one of the founders of the Physical/Visual, Devised and Applied Theatre movements.
In this talk, David will address the fundamental need for ‘time’ spent in an emergent process, and the care required to explore and fulfil the potentials of good creative practice. He will outline the fundamentals of his ‘Creative Practice’ model through “Preparation, Origination, Organization, Manifestation and Reflection/Renewal”, a model now used in over 30 countries. He will also explore the subject of his PhD-Creativity as a model designed by nature to look at the different modes of creativity, and using this as an alternative approach to learning through his International Partnership Centre For Creative Practice with centers in Singapore, China, US, Italy, UK, Serbia and Greece.
In this talk, David will address the fundamental need for ‘time’ spent in an emergent process, and the care required to explore and fulfil the potentials of good creative practice. He will outline the fundamentals of his ‘Creative Practice’ model through “Preparation, Origination, Organization, Manifestation and Reflection/Renewal”, a model now used in over 30 countries. He will also explore the subject of his PhD-Creativity as a model designed by nature to look at the different modes of creativity, and using this as an alternative approach to learning through his International
Main Speaker - Paul Kleiman "TELLING TALES: narratives from a past, present and future"
Paul Kleiman, Senior Consultant (Higher Education) at Ciel Associates, and Visiting Professor, Middlesex University & Rose Bruford College The practices and structures of the performing arts, both professional and educational, are currently subject to significant pressures as a ‘perfect storm’ of economic, technological, political and cultural forces gather around and impact directly on the creative and cultural industries. Travelling between a traditional past, a paradigm shifting present and an uncertain and disquieting future, Paul Kleiman explores how the many and serious challenges confronting the performing arts might play out - for good or ill. But those forces, and particularly their consequences, differ considerably depending on whether one is looking to the ‘East’ or to the ‘West’.
Wong Fai, Chinese Puppet Master, Hong Kong Puppet & Shadow Art Center
Established in 2001 for promotion and development of traditional puppetry, Hong Kong Puppet and Shadow Art Center’s distinctive artistic style is built on traditional foundation and innovative execution. The Center specializes in four traditional types of puppets and shadow art with emphasis on manipulation of puppets and shadows, as well as nuanced performance.
In 2003, the Center received a Special Award in the Golden Lion Competition in China. The Center’s artistic team often takes part in films, television productions, and commercials, while being actively involved in the promotion of traditional puppetry at universities, secondary and primary schools, and in the organization of puppetry and shadow art teams and interest groups. The Center’s artists frequently perform in entertainment venues, schools, shopping malls, and theme parks and are frequently invited to perform in different puppetry and shadow art festivals around the world.
This Chinese Puppetry Performance as part of the Academy Festival 2017, will help to combine traditional Chinese puppet play with current digital technology in order to demonstrate the possibility of use of technology in performing art education. This performance is one of many innovative performances and speakers at the Innovation in Performing Arts Education Symposium to be held on June 15 and 16.
Mr. Wong will have the following 5 pieces of performance: • Four Generals on Stage
• War Drum at Mountain Kim
• Da Ming Fu
• Crazy Monkeys
• Zhong Kui Drunk
William Wong, Creative Technologist, i for interactive Limited
William Wong is a new media artist and creative coder, with interests in interactive and mixed media installations, and digital performances.
He graduated from Master of Science in Computer Science, at Hong Kong University of Science and Technology and later received Master of Visual Art from Hong Kong Baptist University.
He has been working in projects for digital galleries, museums, show suites etc. in commercial firms and universities. In 2013, He has found his own studio, providing services on interactive experience consultation and production. He is also a visiting lecturer in School of Design, Hong Kong Polytechnic University.
Innovative Ideas on Traditional Performance
It is a very common way to use projections and lightings on creating augmentation and dynamic change of a stage. However, it is rare to see combination of wearable technology and handheld projection in performances, not to mention a traditional puppet theatre. In our performance, we are combining hand puppet, string puppet, shadow puppet and projection puppet in re-configured scenes, and we are looking for new possibilities on puppet interactivity and narration.
Performing Arts with Virtual and Augmented Realities
Founder and Director of Los Angeles Performance Practice and the Live Arts Exchange / LAX Festival
Miranda comes from a theater background, and works as an independent producer and performance curator. She began her career with several internationally collaborative projects, producing work in Havana, Kampala, Kigali, and Prague. She has worked with Center Theatre Group, Center for the Art of Performance (CAP) UCLA, and CalArts Center for New Performance, among others, on special projects and initiatives. Several of her recent projects have been adapted for Virtual Reality as prototypes for future VR content, including the immersive theater experience The Day Shall Declare It, created by Wilderness, and Sonnets to Orpheus, an immersive operatic song-cycle. Miranda is currently the Curatorial Artist in Residence at CAP UCLA. In 2015, she was awarded a Cultural Exchange International Fellowship through the City of Los Angeles and the British Council to work with ArtsAdmin in London. And, she is the 2014 recipient of the Richard E. Sherwood Award, awarded annually by Center Theatre Group to an innovative and adventurous Los Angeles theater artist of promise.
Through a visual and oral presentation, Wright will share examples of projects utilizing new technologies in VR and AR in innovative ways within the framework of live performance. How are artists maintaining the core of the social event when incorporating virtual reality into performance? Why are the performing arts so important to the development of virtual reality content? What contextual and experiential layers are possible when utilizing virtual reality and live events?
Peter Flaherty is a director and video artist whose work has shown in over a hundred international venues, including cinemas, theaters, galleries, and museums. He recently created The Surrogate, a Virtual Reality narrative experience that melds 360 video with a computer-generated explorable environment, which was a SXSW Interactive Innovation Award Finalist. He is directing a permanent architectural projection show on a 17th Century palace in a UNESCO world heritage site as the signature attraction for a new museum in the Middle East. He directed a massive, 5-hour film for Parsifal at the Metropolitan Opera in New York. His large-scale video installation, Pass Back a Revolver, premiered at the Institute of Contemporary Art in Philadelphia. On Broadway, he created the Video and Projection Design for Roundabout Theatre’s Sondheim on Sondheim, which was later adapted for HBO's documentary film, Six by Sondheim. He has designed video projections and interactive art for dozens of performances and concerts that have toured the world. His video art has been shown at: MIT Media Lab, Fleisher-Ollman Gallery, and the home of Agnes Gund (President Emerita of MOMA). He is currently the Head of Video for Performance at the CalArts School of Theater.
Mr. Geoffrey STITT
Dean of School of Film and Television, HKAPA
Geoffrey Stitt is a multiple award-winning sound-designer & graduate of the London Film School. He established a professional career in all aspects of editing, mixing & recording sound and picture for the screen in Australia and Hong Kong.
After introducing surround-sound practice to several influential film directors and production companies in Asia, most notably Jackie Chan, Tsui Hark and Media Asia Productions he established a professional advisory service and designed a state-of-the-art studio in Hong Kong. His Soundfirm Asia business collaborated closely with established Soundfirm studios in Sydney and Melbourne and soon assisted the development of a new post-production studio in Beijing.
Geoffrey Stitt is a passionate educator who has designed and delivered seminars, lead conferences and provided consultancy services for highly acclaimed screen producers and directors such as Nansun Shi, Tsui Hark, Jackie Chan and Johnny To. He represents the school at CILECT events, engages broadly with local and international industry figures and representatives from regional and international educational institutions.
He also works effectively with students and independent filmmakers across a broad range of screen content providing technological, operational and educational solutions. He encourages creative collaboration with particular emphasis upon the impact picture editing and sound design can bring to the audio-visual experience. He recorded and edited dialogue for the 2016 Golden Horse winning short film, A Sunny Day.
Geoffrey Stitt provides calm, strategically focused educational leadership drawn from a broad range of professional industry experiences in screen and performing arts. He mentors and advises faculty and students, and can be relied upon to renew curriculum and deliver innovative, high-quality teaching and learning practice.
John Wong, multi-media artist. Now, he is the CEO of a brand experience agency, dontbelieveinstyle. Creative projects include Art, Entertainment & Commercial.
Selected theatre projects include, Edward Lam Dance Theatre’s "What is Sex?", "What is Success?", "Awakening", "What is Fantasy?" & "What is Man?" , Dadawa's "Hear the World", Yang Li Ping's "Peacock". He is also a multimedia designer for pop concert of Aaron Kwok, Andy Lau, Sandy Lam, Eason Chan, Leon Lai, Faye Wong, Sammi Cheng, Kelly Chen, Leo Ku, Coco Lee, Twins and Joey Yung etc.
*The newly designed instruments performed in this show will be introduced and discussed in the talk “The Story of Erhu-Let me tell you something about HKCO’s Eco-Erhu and Shaoqin”.
1. Python-membrane Erhu solo
The Qin Customs, by Jinwei
Python-membrane Erhu: Wong Hiu Ching, Eva (Visiting student, School of Music)
Yangqin: Lai Hei Tung (Dip2, School of Music)
2. Eco-Erhu solo
The Brave Spirits of the Snow Mountains by Liu Wenjin
Eco-Erhu: Wong Hiu Ching, Eva (Visiting student, School of Music)
Piano: Wong Ka-ieng (BMus2, School of Music)
3. Shaoqin Solo
Capriccio No.3 - Dazzlement, by George Gao
Shaoqin: Wong Hiu Ching, Eva (Visiting student, School of Music)
Piano: Tao Yilan (BMus1, School of Music)
The Qin Customs, by Jinwei
Composed in 1984, the piece portrays the personalities and customs of the Qin people with the use of Chinese opera tunes from the Shannxi Province(Qin). The pitches of the open strings are set to CG, a major 2nd lower than the standard DA setting of Erhu, to create a rustic and mellow sound.
The Brave Spirits of the Snow Mountains by Liu Wenjin
Finalized in July 2007, the one-movement Erhu concerto was written to commemorate the 70th anniversary of the victory of the Red Army. The piece has 4 sections, namely the Journey, Snow maintain, Comrades, the Rosy Dawn.
Capriccio No.3 - Dazzlement, by George Gao
Written in 2009, this rhythmic piece features elements of the pentatonic scale, rock music and Irish dance music.
This year will be the first Academy festival 2017 which is a school official event. As one of the production in the festival, The Cityscape is a multimedia showcase comprising collaborative efforts (productive wise and performance) of students from different schools. Some of the elements of this include: Music (composition, acoustic and electronic) interacts with dance, drama, video, and audience. Technological components include interactive system for engaging audience participation. The content aims to present the Fusion of Chinese and Western aspects of Hong Kong local culture.
Related key ideas:
The City Space / Comparisons between the old and new Hong Kong / Fusion, similarity and difference, contrast of Chinese and Western aspects of Hong Kong (content or format) / Culture Preservation and Heritage / Outlook for Hong Kong / Hong Kong future / Cantonese Opera / City Landscape / Emotional expression of Hong local culture.
Music (main focus of this production):
Chinese opera singer/actor + Western opera singer/actor
Chinese instrument musicians + Western instrument musicians.
Poem, Dance, video, projection, interactive system
Simon Wong, Director, Founding Director, Ming Ri Institute for Arts Education
Study Results of Drama in Education (a Talk on Contribution of Drama in Education based on the study result of QTN on Drama in Education from 2009 to 2014)
Wong Tim-keung is the Director and one of the founding directors of Ming Ri Institute for Arts Education. A theatre practitioner since 1983, he worked with the Hong Kong Repertory Theatre, then the School of Technical Arts of The Hong Kong Academy for Performing Arts and the Theatre Workshop. Outside his office hours, he and a group of like-minded theatre practitioners founded the Anonymity Theatre with the mission of exploring and addressing social needs through theatrical arts. Under his initiative, the group became one of the first full-time professional theatre companies enjoying autonomy in Hong Kong. Today it has become an institution geared to providing arts education for children and family audiences. For more than two decades, Wong has been dedicated to the development of children’s theatre, drama in education, and the preservation and development of puppetry. He was awarded an Asian Cultural Council grant in 1993 to go on attachment in the USA to study the development of children’s theatre. It was followed by another grant from the Hong Kong Arts Development Council (HKADC) in 1997 to study arts education and puppet theatre in the USA. He was presented with the Drama Practitioner Annual Achievement Award by the HKADC in 1999 for his contribution to theatre-in-education and children’s theatre in Hong Kong. In 2008, Wong was elected to be a member of the Executive Committee of UNIMA (Union Internationale de la Marionette), a non-governmental organisation affiliated to UNESCO. The appointment made him the first ever ethnic Chinese to be elected to such a post since UNIMA was founded in 1929. He is armed with the mission of serving as a bridge between the puppet art of China and the West.
Innovation is what being focused on under the education reform recently in Hong Kong. From 2008 till 2014, Ming Ri Institute for Arts Education carried out Quality Thematic Network (QTN) on Drama in Education for six consecutive years under the funding of Quality Education Fund (QEF). It aims at training teachers of kindergartens, primary and secondary schools to teach with drama (Learning through drama) so as to improve innovation of teachers as well as children. It was studied by Department of Applied Social Studies, City University of Hong Kong.
1. Details of project and how drama was used in teaching throughout these six years
2. Introduction of approaches used: Learning through drama, Mantle of Expert, Role drama, Story drama, learning about Self Development through drama
3. Results of study in teacher’s teaching ability and students’ innovation in these six years
Last but not least, how this project influenced the development of Learning through drama in the mainland China, which includes training of teachers, its practicing in class, parents support and government policy.
Paper #1: Grace Yu “The Leverage of Mobile App in Interdisciplinary Multimedia Production”
Music and imagery: collaborative transformation in creative performing art productions
Grace Yu, Lecturer (Academic Studies in Music) , HKAPA
This talk explores transformation in the collaborative models between music and imagery in multi-art media productions. Stereotypically, music underlies imageries and videos as their counterpart in such “collaborative” productions. However, imagery does not necessarily precede music in collaborative multimedia performing art productions, for musical works’ innate narrativity also allow vice versa; in addition, these different art forms do interact with one another in the process of creation of performing artworks.
In this talk, Grace Yu would share the exploitations of such transforming interactive models between music and imagery in her recent participations in the productions of Hope in Lamentations and The Cityscape.
Cantonese Opera: From Backstage to the Stage
It is our pleasure to officially launch our MOOC (Massive Open Online Course) in Cantonese Opera: From Backstage to the Stage
The Hong Kong Academy for Performing Arts is the only institution in Hong Kong offering Cantonese Opera at undergraduate degree level. This key strength and area of expertise from the Academy meant that Cantonese Opera was identified as a unique subject discipline to be developed and delivered in a MOOC format (Massive Online Open Course). This would be the world-first MOOC in Cantonese Opera delivered by the Innovation Hub (iHUB) and the School of Chinese Opera. The opportunity to harness the strength of the Academy, as well being part of the MOOC community was seen as supporting one of the key goals of the Academy’s Strategic Plan to use technologies to enrich the learning experience at an international level. Most importantly, the online course would be able reach out wider to people who were interested in the subject (from all ages and background), as well as promote and support one of Asia’s Intangible Cultural Heritage art form. This project required the involved of various stakeholders, and as a result a unique set of roles and taskforce was set up under the Innovation Hub (iHUB) to help develop and coordinate this work to help achieve the Academy’s plan. Since this was the Academy’s first venture into the MOOC community, some key challenges included defining the scope of the topic, since Cantonese Opera contains a wide range of skills and knowledge; the need for a multi-dimension team that would cover the subject matter and the technical expertise as well as deciding on the most appropriate MOOC platform to deliver the course.
This MOOC will be offered via the FutureLearn Platform and incorporates, 32 Video Resources, 60 short articles and 13 discussion forums across a 4 week Course and is the first of it’s kind in the World.
During the Northern Song Dynasty, Yang Bajie, a female general from an illustrious martial family, disguises herself as a foreign warrior to infiltrate the enemy camp. On her way back, she passes by an inn. The innkeeper stands in the way of her horse, and coerces her into spending the night there. Once she moves in, he tries to steal his military seal to prevent her from crossing the border.
Yang draws her sword to kill the innkeeper, only to find out in the nick of time that he is an old retainer of her father’s army. Together, they rider back to their country.
(2016 Location Shoot Exchange Project)
Director: WAN Sze Wai, Carmen
Duration: 7' 17"
Synopsis: As part of the student exchange programme with Taipei University of the Arts (TNUA), six BFA-3 students went to Taipei to shoot a video short in 7 days with the assistance of the TNUA students in January 2016.
Start Saving Water by Yourself
(2016 Outside Project)
Director: WONG Man Chak, Willis
Duration: 3' 42"
Synopsis: Invited by the Water Supplies Department, our Music School student Esther WU composed a theme song and our BFA-2 students produced a MV to promote water conservation to the public.
Venue set up for Dance Performance(In Dance Studio 7 on 3/F)
Paper #1: "Forging the Asian Heart: Keeping Tradition at the Centre of Innovation" by Joseph Gonzales
Joseph Gonzales, Head of Academic and Contextual Studies in Dance and MFA Coordinator (Dance), HKAPA
While innovation in performing arts inevitably looks at how technology transforms the learning experience, this presentation proposes a look to the “past” in order to move ahead. It recommends that Asian traditional forms be placed at the centre of the learning. The development of new creative ideas, performances, productions as well as developing a unique identity will be strengthened by placing Cantonese Opera, Chinese Dance and Chinese Drama at the core of the syllabi. The paper will discuss the possibilities of this radical shift and its challenges.
Hong Kong Puppet and Shadow Art Center
Concept and Direction by: Raewyn Hill
Created by: Raewyn and the dancers
Music: Eden Mulholland after Maurice Ravel
Video content: Eden Mulholland
Carnivale (v3) began with images of bull-fighting, the unrestrained power of the bull ritualistically brought to its death at the hands of the matador, the trance-like pandemonium of the Dancing Plague of 1518 in Strasbourg, France, the Dance Marathons craze in the 20’s and 30’s in America, where the marathons collapsed the distance between real life and theatre, reflecting a larger cultural obsession with celebrity, notoriety, endurance and identity and the concept of a flock of birds, carving a graceful V across the skies, one bird leads, another follows, in an endless synchronized support system.
Carnivale (v3) a unison work that generates a powerful internal community. The dancers are asked to negotiate the tight spaces between them and to balance a strong sense of group with assertion of their own identity. It’s their own identity and individual personalities and styles, which, when nurtured along with artistry, will define them as our future dancers, dance makers, managers and educators.
Carnivale (v1), premiered for Co3, Australia launch season, State Theatre Centre, Perth Australia 2015
IPAE 2017 will be held from June 15-17, 2017 by the Hong Kong Academy for Performing Arts in collaboration with the iHub and the eLearning Advocates. The Call for Proposal is now open and the deadline is Friday, 17th March, 2017.
Please submit your proposal by – Friday, 17th March, 2017. (It is closed)
The main themes of the Symposium are;
• Case Studies in the use of technology innovations for performing arts education
• Interaction and internationalization (e.g. the challenge and beauty of real time synchronous performance)
• 21st Century Learning spaces for performing arts (physical and virtual)
• Culture, Performance and Technology
• Videos technology for teaching and learning in the Performing Arts
• Multidisciplinary Approaches to Performing Arts Innovation
• Performing Arts and Virtual Reality (VR) or Augmented Reality (AR)
• Mobile Learning
• Blended Learning
• Institutional Approaches to Learning Innovation
The proposal will receive a review process. The panel will select high level of proposals with the topics related to technologies and performing arts.
The Symposium will be paper presentations, workshops and performances.
We invite you to submit proposals for IPAE 2017 aligned with the symposium themes. (It is closed)
• A paper presentation
• Virtual presentation
Proposal Submission Deadline: Friday, 17th March, 2017
Proposal Acceptance Notification: Friday, 24th March, 2017
IPAE 2017 welcomes anyone with a background or interest in performing arts, e-learning, including academia, technology coordinators, school leaders and support staff, researchers and study teams, social media and learning technologists, leaders driving use of ICT for performing arts education, educational consultants, technology partners keen to showcase their solutions.
1. Proposals may be submitted by individuals or by groups of presenters. Presentations that are aligned to the conference theme and topic areas will be grouped into tracks.
2. The duration for each presentation will be 30 minutes (20-minute presentation followed by a 10-minute question & answer session).
3. Deadline for submission: Friday 17th March, 2017.
6. A proposal can be submitted on line through the submission system. Maximum no. of words of the abstract is 250 in English or Chinese. For the first time submission, you have to register with EasyChair.
7. The program committee also reserves the right to edit your proposal for content clarity for publication purposes.
8. The program committee will review your proposal and selected speakers whom will be informed by e-mail on or before April 10, 2017.
You have to login and submit your paper to IPAE 2017 [Click here]
Please register with EasyChair if it is your first time submission.
If you have any question about the Symposium, please send email to us at firstname.lastname@example.org.
Early Bird Registration : 1 October, 2016 to 31 March, 2017
Standard Registration : 1 April to 31 May, 2017
No refund will be made for cancellation of registration
1. One person per registration, those aged 12 or below will not be admitted (Package holders may be asked to produce proof of age e.g. Identity Card, for inspection on demand).
2. HKAPA has the absolute right to deny entry to any person who has not registered.
3. HKAPA reserves the right to refuse admission to any late-comers to the event or determine the time at which and the manner in which late-comers can be admitted.
4. Packages sold are non-refundable and non-exchangeable. All handling charges collected are non-refundable.
5. HKAPA reserves the right to add, withdraw or substitute speakers and performers, and/or vary advertised programmes, seating arrangements, and audience capacity (in accordance with the announcement at the Symposium website).
6. Cameras and other recording equipment are prohibited in the venue.
7. A registration package holder may be refused admission if any details on the registration documents have been omitted or altered or if the registration document is damaged, defaced or otherwise mutilated.
8. Registration Package holders must observe the House Rules of the venue.
9. Please visit http://www.eventbrite.com/tos/ for Terms of Services for buyers of using Eventbrite.
1. If Typhoon Signal No. 8 (or above) or the Black Rainstorm Warning Signal is hoisted at 6 am on event date, morning session of the symposium will be cancelled. If Typhoon Signal No. 8 (or above) or the Black Rainstorm Warning Signal is still hoisted at 11 am on event date, all afternoon session will also be cancelled. For evening activities on all days, they will be cancelled if Typhoon Signal No. 8 (or above) or the Black Rainstorm Warning Signal is still hoisted at 5pm on event day.
2. The Symposium Secretariat will notify all registrants of the latest arrangement before 7am in the event of adverse weather conditions affecting the symposium sessions.
3. For any event cancelled or postponed, a refund will be made to registration package holders only.
The Hong Kong Jockey Club Amphitheatre
The Hong Kong Academy for Performing Arts
1 Gloucester Road, WanChai, Hong Kong
You may also find more information of the Academy’s location at: [click here]
Telephone No: (852) 2584 8345
Email Address: email@example.com
How to get there?
1. From Hong Kong International Airport
From Hong Kong SAR airport at Chek Lap Kok, you can reach Central District by the Airport Express Line (AEL) in about 30 minutes. Get off at Hong Kong Station, and then take a 10 mins taxi to the Academy.
The AEL runs every 8 – 12 minutes, and charges for HK$100 (approximately US$13) per person. Taxi from Hong Kong Station to Wan Chai District costs HK$50 (approximately US$ 7). Operating hours for AEL is from 6 am to 1 am.
2. From Main MTR Station
The Academy is located roughly mid-way between the Admiralty and Wanchai MTR stations, although it is slightly closer to Admiralty (take exit D signposted to the Hong Kong Academy for Performing Arts), or take Exit “A1” at Wanchai MTR Station.
3. Other Information
You can find the following bus near the Academy:
2, 5P, A12, 18, 18P,46X, 70, 70M, 104, 260, 307, 309, 373, 373A, M590, 720, 720A, 720P, 780, 788, 967X, 969X
For detailed bus route, please check at:
Passport and Visa
Nationals of most countries do not require a visa to enter Hong Kong for tourism and can stay for periods varying from 7 to 180 days, depending on nationality. If you’re unsure of your status, please check with any Chinese embassy or consulate.
You can also find further details about visa requirements on the Immigration Department website at:
Hong Kong SAR has a subtropical climate.. The average temperature in June lies between 25 – 32°C. It reaches the summer season in Hong Kong.
Hong Kong SAR time is GMT plus 8 hours.
The unit of currency is the Hong Kong dollar (HKD). It is pegged to the US$ at approximately HKD 7.8 to USD 1. Most foreign currencies and traveler’s cheques can be changed at banks, money-changers, hotels and major retail outlets. Banks usually offer the best exchange rate. Hong Kong dollar notes are available in $10, $20, $50, $100, $500 and $1,000 denominations. Coins come in 10 cents, 20 cents, 50 cents, $1, $2, $5 and $10 denominations. All major credit cards are widely accepted.
Most Bank offices are open from 09:00 to 17:00 on weekdays and 09:00 to 13:00 on Saturdays.
You may find the following Banking and ATM facilities near the Academy at the United Centre or Pacific Place Mall, which is 10 minutes walking distance to the symposium venue:
Bank of China: Shop 1021, United Centre, 95 Queensway, Admiralty
HSBC: Shop 102, Pacific Place Mall, 88 Queensway, Admiralty
Hang Seng Bank: Shop 2029, 2/F, United Centre, 95 Queensway, Admiralty
CitiBank Limited: Shop 2003-2006, 2/F, United Center, 95 Queensway, Admiralty
Standard Chartered Bank: Unit 355, Level 3, Pacific Place, 88 Queensway, Admiralty
Bank of East Asia: Shop 1007-1008, 1/F, United Centre, 95 Queensway, Admiralty
Industrial and Commercial Bank of China: Shop 1013-1014, 1/F., United Centre, 95 Queensway, Admiralty.
Local voltage is 220V at 50Hz. Adapters can be easily bought, and most hotels have multi-voltage fittings for electric razors.
As a compact city with more than 12,000 restaurants, Hong Kong could be described as a dining district in itself. Culinary discoveries can be made just about anywhere in the city. Restaurant hubs near the Academy include the Starstreet Precinct (Wan Chai) and The East (Wan Chai). More information can be found at:
In case of emergency situation (e.g., accidents, crime, lost or fire), you may dial 999 and ask for assistance. It is also strongly recommended that you should also make arrangement to take out your own travel insurance.