Creative Interdisciplinary project

Who made who

獨塑
"One is not born, but rather becomes, a woman"
from Simone de Beauvoir's “The Second Sex” 1

Basic Information
School Music

Department Vocal

Project Leader Leung Hei Na (BMus4)

Project Team Wong Choi Fei (BFTV 2)

Chan Tsz Shan Adrian (BFTV 3)

Wong Tsz Kin (BFA TEA 4)

Tsang Wing Fai (MFA Dance 2)

Lam Yuk Lam (BMus 4)

Supervisor Dr. Grace YU

Project Title Who made who 獨塑

Target Beneficiaries Females who face physical violence

Implementation Period 1 Jan 2023 - 30 June 2023

1 Beauvoir, Simone de. 2015. The Second Sex. London, England: Vintage Classics.
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1. Executive Summary

This project was started by a little wish of mine. I always wanted to contribute to the society through Bel canto
singing as a woman. I also wanted to inspire modern woman to overcome their obstacles, which may cause
by external force or their personal growth. So, I start up research about “Female” and “Female Artists.”

Female in Hong Kong

According to the ‘Hong Kong Federation of Women's Centres- Women's Helpline Service,’ they received over
13,000 new calls for help in the year of 2011 to 2020, of which 1,100 involved domestic violence. More than
70% of the victims had faced physical violence, 47% were involved in mental abuse, and 20% were treated
with both types of violence. Moreover 74% of the victims indicated that they had experienced domestic
violence more than once, reflecting that domestic violence is still serious.

I want to explore the possibility of a woman who is committed to her belief and do anything she wants. The
target beneficiaries are all public audiences. The female artists and the female characters inside of the
songs are the metaphor of vulnerable people, and they found their way out in their situation. We can also find
ours by knowing others had their difficulties.

So, this is a creative Interdisciplinary project.

In my project,
I will collaborate with 5 female artists (including a dancer, a ceramicist, an illustrator, a costume designer and
a photographer) and produce an Art film in 20 minutes. I will sing a song cycle “Five Betjeman Songs” written
by a female composer and I hope to encourage audiences in Hong Kong by introducing these successful
modern female artists, any female can be brave to pursue anything she wants and speak up for themselves
while they are facing difficulties.

The repertoires I choose was written by Madeleine Dring, a British female composer who is extremely
sensitive to the society issues in 1930-1970, and she composed a song cycle named “Five Betjeman Songs”
after she read the poem by John Betjeman. The poems are talking about 5 different women in 5 different
places in United Kingdom, and they are in different stage of their life. All of them are facing their own
difficulties, a young girl is lack of courage to pursue her dream in the far eastward; a business women facing
the loneliness by her own; a godly girl be accustomed to the words from bible; a female jockey is not
satisfised, even she committed to her training; lastly, an old lady that is drunk telling us she have a beautiful
youth, but everything seems meaningless after she gets old.

The songs include the beautiful bay view in Britain, pub culture, religion and village views in the 20th century,
after I sing the songs, I experienced the inner emotion the captured the self-values and ideas of how women
look at themselves.

I aim to,
• encourage vulnerable people in the society and NGOs to persevere in their beliefs,
• encourage general females in society to take action for themselves, we all have right to pursue what
we want.
• increase people’s awareness of female artists and female’s topic artwork and provide further
information about them if the audience wants to dive into it deeper.

2
 • combine different art forms (drawing, photography, poetry, dance, fashion design and art film) with
Bel canto singing, to explore poetic variations of music, encourage different artists to collaborate with
each other.

Other activities
We aim to curate an exhibition in HKAPA and different associations, also publish a booklet of Artworks after
the exhibition. To show more about the artworks to the public, let the work influence more people and provide
inspiration.

As for the targeted beneficiaries, I aim to deliver the message in three perspectives:
• vulnerable women in society;
• all public audiences of the video and exhibition;
• artists, art teachers and students.

We hope our message can be delivered both inside and outside of the art field so that more people can feel
connected.

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2. About the project

Society
The potential of a female is unlimited. Females can be coaches, mothers, artists some of us are omnipresent
in the world of music and theatre, we can be producers and performers, entrepreneurs and so many more.
Meanwhile, women’s lower levels of employment and earnings contribute to higher rates of poverty and
greater vulnerability to specific health problems and violence are still happening in the world 2

According to the ‘Hong Kong Federation of Women's Centres”, the number of domestic violence cases
increased during the epidemic, with 34 cases of domestic violence-related requests received from January to
March 2020 alone, more than double the 16 cases received during the same period in the past. Moreover, the
abusers of domestic violence cases during the epidemic were not prosecuted and convicted, and 94% of the
abusers did not participate in counselling programs. According to the service figures in early 2020, 81% of
victims were not offered medical examinations and 75% of victims were not offered counselling.

On 19 October 2022, the government released the first "Policy Address" of the current-term government,
outlining the blueprint for Hong Kong's development in the next five years.
To support women in balancing employment and family and unleash their potential, the "Policy Address"
proposes to increase the allocation to the Women's Affairs Commission from HK$4 million to HK$10 million
and establish a " Women's Empowerment Fund". This promotes women's development and I believe that the
proposal will help the community to promote diversified support services for women's needs.

“The Hong Kong Federation of Women's Centres” is concerned about the mutual division of labour between
the newly established " Women's Empowerment Fund" and the "Women's Development Funding Program"
under the current Women's Affairs Commission, as well as the types of funding projects. At present, the
"Women's Empowerment Fund" can be used to fund three themes, namely: "Release Women's Labour
Force", "Women's Health", and "Elevate Women's Capabilities". It should further expand support projects
categories, such as receiving research and investigating research projects related to women's living
conditions, so that the pressure and difficulties faced by women can be better understood.

2
https://www.womencentre.org.hk/En/Advocacy/domestic_violence/

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Why I Choose this Song Cycle

“Music, the universal language, can express a pure and most potent form of truth, for it disarms the
worldly personality by speaking directly to the soul.”3
By Madeleine Dring,
The reason that I choose this song cycle is because the spirit of Madeleine Dring, she as an artist encourage
me to pursue my goal, she faced many hard time like discouragement from her teacher and the World War II,
but she chosen the bright side to look at, her mentality of pursue in art should let more people know, I want to
pass the message to the next generation.

About the Composer

Madeleine Winefride Isabelle Dring (1923-1977) is a 20th century British women composer, she is also an
outstanding singer, actress, and a pianist, who composed about 60 art songs in her lifetime. Her songs are
unique in style for its integration of various elements, such as Classical, Caribbean Dances, Galliard4 and
Gigue, Jazz and Waltz.

Dring also studied piano, vocal music and drama performance. The vocal music teacher once thought her
body was too slender, and the piano teacher thought her fingers were too long to be controlled. Dring was not
frustrated by them, she actively expanded her vocal range, challenge herself to be more flexible, and she
worked hard to improve piano skills. In addition to writing concert pieces for piano, voice and chamber music,
she also composes scores for plays.

Dring liked singing, acting and speaking since she was a child. She was imaginative and she analyse herself
through dreams and record her thoughts on poems or drama scenes. At the age of ten she won a scholarship
to the RCM Junior Department where she spent weekends studying violin, piano, drama and composition.
During this period, she participated in performances curated by Angela Bull, the theatre director of the Junior
Department, and wrote play scores for children and youth ensembles. These performances were mostly
based on fairy tales, such as The Little Mermaid. Bull also had a great influence on Dring’s compositional
style, and she once wrote to Dring:

“I doubt if we’ve got anyone who can do one difficult rhythm you’ve written for side drum. Keep in
mind the material we have got, not professional standards. I do these plays and the music to be of
help and enjoyment to the children, not to try and attain the impossible. So, everything must be
fitted to idioms familiar to them and techniques possible to them. They can achieve perfection
within their limits but not even mediocrity when they are aiming at idioms beyond their capacity and
experience.”5

Composing Style
The idea of letting performers achieve perfection within their limits influenced Dring’s composing style, which
tended to be more approachable, and remained so until her maturity. Dring was then awarded a full

3
Ro Hancock-Child, Madeleine Dring: Her Life, Her Music (England: Micropress Music, 2009),
4
It is the name of dance music in the Caribbean, mainly referring to the traditional dance music that has been
carried down in Cuba, Haiti and Trinidad in the West Indies. Among them, the Cuban folk song Guaracha is
the most representative, and the rhythm is mostly used alternately in 6/8 time and 3/4 time.
5
Ro Hancock-Child, Madeleine Dring: Her Life, Her Music (England: Micropress Music, 2009), 13.

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scholarship to continue her studies at the RCM, majoring in Composition. Her composition teachers included
Herbert Howells, Ralph Vaughan Williams and Gordon Jacob.

In terms of creative techniques, the piano accompaniment used parallel fourths or fifths, key changes in major
and minor keys, and blocky harmony passages. Vocal lines are mostly performed in simple 8th and 16th
notes. Although the creative inspiration comes from ancient dance music, it also incorporates a lot of modern
harmony based on triads. It sounds intriguing and full of contradictions, with a sense of blending old and
new.

Up and Downs
In 1939, the Second World War broke out. During the war, RCM principal Sir George Dyson (1883-1964)
operated the school in a miserable state. Dring’s classmate Pamela Larkin once in the letter wrote:
‘There is no doubt that we must carry on our business, despite the bombs falling while we sleep in the
cellar!’6

Dring was inspired by her companion too. In 1941, Dring got a lot of opportunities on composing soundtracks
for radio broadcasts after she won praise in The Musical Times for his stage score to “The Emperor and the
Nightingale” (1941). She was in the age of 18.

After her marriage, Dring continued to compose stage music and she participated in chamber music and
theatre performances, but social event made her tired. She once wrote to an American composer friend name
Eugene Hammer:
“I do find it utterly exhausting trying to juggle with a cigarette, a handbag, a glass of wine, a plate, a
knife and fork (that’s six hands needed so far!) a stole and still retain the odd hand to be shaken.”7

In 1970s, Dring began to explore herself and took courses in psychology and spirituality. Her works in later
years are full of self-examination77)8 all present this appearance. In 1977, Dring died of a cerebral
haemorrhage at the age of 53.

6
Wanda Brister,“The Songs of Madeleine Dring,”Journal Of Singing: The Official Journal Of The National
Association Of Teachers Of Singing 64, no. 5 (May-June 2008): 566.
7
Ro Hancock-Child, Madeleine Dring: Her Life, Her Music (England: Micropress Music, 2009), 21.
8
"Four Songs of the Night" was the last song cycle composed by Dring before her death, but she passed
away before it was completed, and this group of works was finally completed by her husband.

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Why I collaborate with these 5 Artists?

Key Deliverables
Total Length of the video: 18-20 minutes
This is a video that consists of 6 parts, I will sing all the songs and compose a finale for the video.

1 “Awakening”
The first part of the video will present the dancer Fai, who breaks out of the clove that covered her body. She
decides to uncover herself and believes there is a better sight from far away, although there seems to be
nothing. The music is about a girl who lies down on a beach, and everything is so beautiful, full of hope and
imagination, and a world full of possibilities. The dancer uses her body to do the process of awakening, the
moment we see the world with beliefs is a process of awakening. All the beautiful things have surrounded us
since the day of creation. We protect ourselves by closing one of our eyes and choose to see the world with
critics. We became too tired and too lonely; but we can be safe and loved if we hold on to our faith.

2 “Molding & Shaping Myself”

The 2nd part is a documentary about Candy making pottery. The way she molds and creates the pottery
shows how we shape ourselves. The expectation of ourselves usually affected by how our parents, teachers
and idols tell us, but after we start working, our inner self may change. As an example, Candy works from
9am to 6pm on her weekdays, and after 6pm she goes to her studio that she rents by herself to teach and
create pottery art, because this is her interest. She committed to her child duty because she fulfilled her
parents’ wish, but she worked and did the things she wanted.

3 “Through the window”

The 3rd part is an animation of the drawing process of the church of Bethanie by Bear Ho. The drawing
shows the rooftop that have multiple glass windows, the sunlight shines through the window at the end. We
do not need to be a Christian in order to be loved. Everyone deserves love, we may not know much about the
bible, but in the church of God we can feel the truth, hope, faith and love that he gave us.

4 “The Shining point, Jockey”

The 4th part will present me wearing a glorious dress designed by Chelsea and singing. In the beginning I am
nervous and uncomfortable, although the clothes are beautiful, I cannot see myself through the clothes. But
at one moment the glorious dress uncovered, inside is a chin, independent and strong leathery style costume.
We can transform, we can grow from time to time, and we should allow ourselves to change. That means we
are also learning new things, suddenly we will find that the views around us have changed.

5 “Capture the beauty”

The 5th part is a documentary of Linda searching in the dark, while taking photos at night. She tries to capture
what she sees. In the end, she takes a cigarette and lights it up, but she does not smoke it. From the smoke
her photos appear.

6 “Bridge”
Lastly, I will compose a song at the end of the video and in-between every song. Because I had experienced
every mental change of those woman felt, the loneliness, upset, nervous, feeling hopeful and uncertain about
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the future, searching and molding who I am, everything is so familiar to me. I have awakened in the 4 years of
study in HKAPA, and I hope to let more people be awakened, and to let them know they are not alone, and
they are not helpless, because we should be the one to save ourselves.

Conclusion
The story of Dring, these Artists and the character from the songs inspire women nowadays. We are strong,
staunch, faithful and caring, all of us shine and try to overcome obstacles in our own way. We believe that if
someone in your life told you that you are uncapable of something, you should try it in your way and make
sure the success is not determined by others. After trying it ourselves whether we succeed or not, at least we
will not regret it.

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 Songs Details

Year: 1976
Minutes: 12-15 mins
Instrumentation: Piano 1, vocal 1

• Five Betjeman Songs (Text: John Betjeman, Sir)

o no. 1. A bay in Anglesey [Female Artist: Dancer (輝)]
o no. 3. Business girls [Female Artist: Ceramist (Candy)]
o no. 4. Undenominational [Female Artist: Illustrator (Bear)]
o no. 5. Upper Lambourne [Female Artist: Fashion design (Chelsea)]
o no. 2. Song of a Nightclub Proprietress [Female Artist: Photographer (Linda)]

The interpretation and style of performing songs

The song cycle was published in the year before Dring died. Dring explored each song using different
compositional techniques. The music connects with the emotion of the poems, which makes her
music very intimate, all kinds of audience can enjoy the beautiful music.
In ‘A bay in Anglesey’, I will keep a legato and warm vocal line to match with the bay scenery; I will
also highlight the jazz elements in ‘Song of a Nightclub Proprietress’ to present a drunk, dreamy
effect. The scenery of songs cover the bay scenery in England, bar culture, religions, country view, to
show the life and thoughts of women in the 20th century.

Name Length Lyrics Chinese Translation 中文翻譯

1 no. 1. A 03:40 The sleepy sound of a tea-time tide 下午茶時間昏昏欲睡的波浪聲

Bay in slaps at the rocks the sun has dried, 拍打著太陽曬乾的岩石，
Anglesey
too lazy, almost, to sink and lift round low 太懶惰的海浪，幾乎，無法在低矮粉紅色
peninsulas pink with thrift. 的半島周圍下沉和抬起。

The water, enlarging shells and sand, 水，延展在貝殼和沙灘上，

grows greener emerald out from land 離陸地越遠越是碧綠，
and brown over shadowy shelves below 在層層波浪的陰暗下的褐色
the waving forests of seaweed show. 是海藻形成的搖曳森林

Here at my feet in the short cliff grass 這裏在我腳下的矮崖草叢中

are shells, dried bladderwrack,
有貝殼、乾枯的海藻、破碎的玻璃，
broken glass, pale blue squills and yellow rock
天藍色的海鞘和鮮黃色的岩玫瑰。
roses.
 The next low ridge that we climb discloses 我們要爬上的小嶺展現出
one more field for the sheep to graze while, 一塊供綿羊放牧的草地，
scarcely seen on this hottest of days,
在這如此炎熱的日子裡難得見到，
far to the eastward, over there,
在遙遠的東邊，在那兒，
Snowdon rises in pearl-grey air. 斯諾登山在珍珠灰色的空氣中顯現。

Multiple lark-song, whispering bents, 各種雲雀的歌聲，野草低吟，

The thymy, turfy and salty scents 融合著香草、泥炭和海鹽的味道，
and filling in, brimming in, sparkling and free 一切充滿洋溢，閃亮而自在的
the sweet susurration of incoming sea.
都散發著海浪來臨前的甜美氣息。

2 no. 3. 02:10 From the geyser ventilators 從熱水器的蒸氣孔

Business Autumn winds are blowing down 秋天的風吹向
Girls
On a thousand business women 上千名位上班女郎
Having baths in Camden Town 在肯頓鎮洗澡

Waste pipes chuckle into runnels, 污水咯咯作響地流入地道，

Steam's escaping here and there, 蒸汽四處逃逸，
Morning trains through Camden cutting 早晨的火車穿過肯頓鎮
Shake the Crescent and the Square. 搖動新月街和廣場。

Early nip of changeful autumn, 多變的秋天的初夜，

Dahlias glimpsed through garden doors, 大麗花透過花園的門瞥見，
At the back precarious bathrooms
二樓後方上突出的搖搖欲墜的浴室；
Jutting out from upper floors;

在脆弱的隔板後面
And behind their frail partitions
上班女郎躺下浸泡，
Business women lie and soak,
通風的天窗看穿空曠的天際
Seeing through the draughty skylight
Flying clouds and railway smoke. 漂浮的雲朵和鐵路的煙霧。

Rest you there, poor unbelov'd ones, 休息吧，可憐的，不被愛的人兒

Lap your loneliness in heat. 讓你的孤獨和寂寞在溫熱的水中溶解。
All too soon the tiny breakfast, 一點點的早餐、
Trolley-bus and windy street! 電車巴士和大風的街道很快就來了！

3 no. 4. 01:40 Undenominational 不屬於特定宗教

Undenomi- But still the church of God 但仍然是上帝的教會
national
He stood in his conventicle 他站在他的修道院
And ruled it with a rod. 以權杖去治理。
 Undenominational 不屬於特定宗教
The walls around him rose, 四周的牆壁升起，
The lamps within their brackets shook 燈台內的油燈搖晃
To hear the hymns he chose. 聽著他選擇的聖詩

“Glory” “Gospel” “Russell Place” 「榮耀」「福音」「拉索區」

“Wrestling Jacob” “Rock” 「摔跤的雅各」「磐石」
“Saffron Walden” “Safe at Home” 「 薩弗倫沃爾登」「在家安居」
“Dorking” “Plymouth Dock” 「多爾金」「普利茅斯港」

I slipped about the chalky lane 我想到白色大道

That runs without the park, 在沒有花園的情況下延伸岀去，
I saw the lone conventicle 我看到在孤獨的修道院有一座
A beacon in the dark. 黑暗中的燈塔。

Revival ran along the hedge 復興沿著樹籬奔跑

And made my spirit whole 讓我的靈得以完整

When steam was on the window panes 當窗玻璃上起霧時

And glory in my soul. 榮耀亦會在我的靈魂中。

4 no. 5. 02:45 Up the ash tree climbs the ivy, 白蠟樹枝上常春藤攀爬，

Upper Up the ivy climbs the sun, 常春藤之上太陽高掛，
Lambourne
With a twenty-thousand pattering, 伴隨著千萬的踢踏聲，
Has a valley breeze begun, 山谷的微風吹起，
Feathery ash, neglected elder, 羽毛般的灰燼輕飄，被忽視的老人，
Shift the shade and make it run - 修整樹蔭讓它踏上軌道 -

Shift the shade toward the nettles, 修整樹蔭將陰影移向蕁麻，

And the nettles set it free, 從蕁麻叢中讓它自由，

To streak the stained Carrara headstone, 為了在墓碑上仔細鑿刻，

Where, in nineteen-twenty-three, 在十九時二十三分，

He who trained a hundred winners, 那位培養岀上百名賽馬冠軍的人，

Paid the Final Entrance Fee. 付岀了最後的入場費。

Leathery limbs of Upper Lambourne, 來自蘭伯恩上區堅韌的肢體，

Leathery skin from sun and wind, 從陽光和風得到這粗糙的肌膚，

Leathery breeches, spreading stables, 皮革般的馬褲，寬敞的馬廄，
Shining saddles left behind - 留下閃亮的馬鞍
To the down the string of horses 順著馬兒列隊走下
 Moving out of sight and mind. 走出視線和思緒之外。

Feathery ash in leathery Lambourne 羽毛般的灰燼在堅韌的蘭伯恩中，

Waves above the sarsen stone,
在砂岩上輕飄，
And Edwardian plantations
而在愛德華風格的人造花園裏
So coniferously moan
如針葉般的哀鳴
As to make the swelling downland,
就使下坡處，
Far surrounding, seem their own.
和遙遠的四周，彷彿只有他們存在。

5 no. 2. 02:50 I walked into the nightclub in the morning, 我在清晨走進夜店，

Song of a there was Kummel on the handle of the door, 門把上有甜酒的殘汁，
nightclub the ashtrays were unemptied, 煙灰缸沒清空，
proprietress
The cleaning unattempted, 沒人打掃清潔，
And a squashed tomato sandwich on the floor. 地板上還有一個壓扁的番茄三明治。

I pulled aside the thick magenta curtains 我拉開厚重的紅色窗簾

So Regency, so Regency, my dear 如此富麗堂皇，如此震攝，親愛的
And a host of little spiders 突然一群小蜘蛛
Ran a race across the ciders 跑過蘋果酒漬裏賽跑
To a box of baby 'pollies by the beer. 朝著啤酒旁邊的氣泡水跑去。

Oh sun upon the summer going bypass 喔！夏日繞道上的太陽無情地經過

Where ev'rything is speeding to the sea, 每樣事物都在向大海奔去，

And wonder beyond wonder 但奇怪的更奇怪

that here where lorries thunder 這裡應是卡車隆隆作響的地方

The sun should ever percolate to me. 太陽應該永遠照耀我的身體。

伯利斯從前常常叫我撘他的豪華房車，
When Boris used to call in his Sedanca,
泰迪帶我去他的豪宅莊園，
When Teddy took me down to his estate,
當我的鼻子牽起激情，
When my nose excited passions,
我的服飾還很時髦，
And my clothes were in the fashion,
就算我遲到了，我的愛人們總也不會生
When my beaux were never cross if I was late,
氣，

There was sun enough for lazing upon 當時有足夠的陽光讓我慵懶地躺在海灘上

beaches
當時的歡樂總是越夜越美麗；
There was fun enough for far into the night;
但我快死了，也受夠了
But I'm dying now and done for,
這世上到底還有什麼樂趣？
What on earth was all the fun for?
我又病，又老，又害怕，又醉。
I am ill and old and terrified and tight.
（譯者：梁晞娜）
3. Target Audiences

I will invite associations (such as Golden Z Club, Hong Kong Federation of Women's Centres etc.) to
play the video at their centre. This continues the affection at any time and in anywhere. Also, we can
post our performance video and behind the scenes video to social media like YouTube and Facebook
and we can encourage the above-mentioned association to share our posts.

NGOs, associations:
• Golden Z Club
• 香港婦女中心協會 Hong Kong Federation of Women's Centres (HKFWC)
• 香港各界婦女聯合協進會 The Hong Kong Federation of Women (HKFW)
• 婦女基金會 The Women's Foundation (TWF)
• 慈善組織心蓮心 Women Helping Women Hong Kong (WHWHK)
• 香港乳癌基金會 Hong Kong Breast Cancer Foundation (HKBCF)
• 香港遺傳性乳癌家族資料庫 Hong Kong Hereditary Breast Cancer Family Registry
• 母親的抉擇 Mother’s Choice
• 保良局
• 聯合國兒童基金香港委員會
• Light be (單身女人) 無力自力更生
• 1a

Artists, students and teachers - Exhibition

The first exhibition will be held in HKAPA, dividing into 2 parts:
1. Artworks inspired by “Who made Who”, included the video, the pottery, illustration, the dress
and the photos;
2. Artworks created by the 6 female artists.
Public - Booklet of Artworks
We will publish a booklet of Artworks, so we can record the process and result of art creation by the
artists.
4. Crew list (alular, students, individual artists)

Artists Name Phone Email Student

number Number
Dancer 曾詠暉 Tsang 60343413 S21tsangwingfai@hkapa.edu MA Dance 2
Wing Fai Current
A09189
Ceramicist 李思頴 Li Sze 92003011 can.liszwng@gmail.com Individual
Wing Candy artist
(SW)
Illustrator 何鎂兒 Ho Mei Yi 65813190 hmeibear@gmail.com alular
(Bear Ho)
Costume 游倬宜 You 53498998 Chelseayy29@gmail.com BFA TEA 3
designer Cheuk Yi Current
(Chelsea)
Photographer Wong Hiu Ping 95106122 lindahiuping@gmail.com Individual
王曉萍 (Linda artist
Wong)
Film Director Wong Choi Fei 黃 55375105 feiggfei@gmail.com BFTV 2
在飛 (Alvin) A36880
Film and 陳子山 Chan Tsz 96014333 s20chantszshanadrain@hkapa.edu BFTV 3
documentary Shan (Adrian) A35527
Director
Pianist Lam Yuk Lam 林 63899074 lamyuklam@yahoo.com.hk BMus 4
郁林 (Michael) A33625
Sound Wong Tsz Kin 95023655 novenpeter@gmail.com BFA TEA 4
engineer 王梓健 (Peter) A33881
Co-composer 鄭錫楠 Cheng Sik 91605714 chengsiknam@gmail.com alular
Nam (Leo)
 5. Budget plan
Expenditure
Category of
Item Details of Expenses Cost per unit Unit Amount (HKD) Total (HKD)
Expenses
Video filming, 器材 10000 1 10000

時裝設計作品、 6000 1 6000

服裝材料

陶瓷作品材料 2000 1 2000

Creation
1
Supplies
攝影作品材料 2000 1 1000

繪畫材料 2000 1 1000

Booklet 300 10 3000

Subtotal 23000
2 交通費用 運輸展品及 5000 1 5000
Transportati 裝展用品
on
車馬費用 2000 1 2000
Subtotal 7000
3 場地佈置 展覽燈 1000 1 1000
Decoration 枱布 300 1 300
畫框 300 10 3000
印刷品、展板 1000 1 1000
Subtotal 5300
4 報酬 畫家 600/hr 12 7200
Remunerati 陶瓷藝術家 600/hr 12 7200
on
攝影藝術家 600/hr 12 7200
聯合作曲家 600/hr 10 6000
Subtotal 27600
5 場地 Venue 場地租用 600/hr 15 9000
9000
海報 8 100 800
宣傳 A4 File 2 600 1200
6
Advertising
宣傳咭 300 1 300

Subtotal 2300
Total 74200
 6. Work Schedule

Schedule:
Recording & Artwork creation period: Jan - Feb 2023
Filming & documenting: Jan - Mar 2023
Photo taking: Mar 2023
Launching: 10th April 2023
Lecture- presentation & first exhibition in HKAPA: 1st April - 20th April 2023
Exhibition: April - June 2023

Detailed:
Project Phase Description Week Period

Start up All Artists meetup 1 2 Jan 2023 8 Jan 2023

(meeting 1, idea present and research direction)

Draft and ideas 2-3 9 Jan 2023 22 Jan 2023

• Pottery
• Illustration
• Fashion design
Research period • Photography

Video-Making of:
• Sound: Recording of the songs (6 hours)

Artwork Video-Making of: 4 23 Jan 2023 29 Jan 2023

creation - • Illustration
phrase 1
• Pottery 2 sessions (6 hours- Dawn & night)
• Photography 2 sessions (6 hours)
• Sound: Editing of the songs

Development Meeting 2 (update on artworks) 5 30 Jan 2023 5 Feb 2023

• Dance: improv & choreography 6 6 Feb 2023 12 Feb 2023

• Pottery: making of the pottery
• Illustration: drawing of Bethanie
• Fashion design: making of the dress
• Photography: Photo shooting - beauty of
body

Photo shooting for promotion

Documentary shooting 1: Video Making of 7-8 13 Feb 2023 26 Feb 2023

• Fashion design 1 session (3 hours)
 • Dance: 3 Rehearsals
• Solo 1 session (3 hours)
• with ensemble 2 sessions (6 hours)

Video shooting 1:
• Dance (Ensemble dance) 2 sessions (6
hours) Beach

Artwork Finalise Artwork: 9 27 Feb 2023 5 Mar 2023

creation -
• Pottery
phrase 2
• Illustration (animation)
• Fashion design
• Photography
• Dance: 2 Rehearsals
• Solo 2 sessions (6 hours)

Prototype Documentary shooting 2: (outside of APA) 10-11 6 Mar 2023 19 Mar 2023
• Pottery 1 day 3 sessions (9 hours)
Candy’s studio
• Photography 1 day 2 sessions (6 hours)
Night street

Video shooting 2:
• Dance (song 1 solo) 2 sessions (6 hours)
HKAPA dance studio

Video editing 12-14 20 Mar 2023 9 Apr 2023

Final video 15 (10-16 Apr)

Launching in NGOs, associations, YouTube, 10 Apr 2023
Facebook Live

Lecture- presentation 16 1-22 Apr 2023 (1 day)

1st Exhibition in HKAPA

Exhibition Target in 3 venues 17-21 24 Apr 2023 31 May 2023

Evaluating Feedback by questionnaire and project report 22 28 May 2023 3 June 2023
writing

Documentary shooting (Adrian)

Video shooting (Fei)
Pottery (Candy)
Illustration (Bear)
Fashion design (Chelsea)
Photography (Linda)
Dance (Fai)
7. Video
Name Length Context

intro 00:15 Sea, Dream

0.1 With title [Who made who 獨塑]

0.2 fade in the bird patten, and the radio player

0.3. Hei Na will press the “play” button of the player, music fade in, she pulls apart the clove and place it on the Dancer (Fai)

1 Awaking no. 1. A bay in Anglesey 03:40 The sleepy sound of a tea-time tide
Slaps at the rocks the sun has dried,
Too lazy, almost, to sink and lift
Round low peninsulas pink with thrift.

The water, enlarging shells and sand,

Grows greener emerald out from land
And brown over shadowy shelves below
The waving forests of seaweed show.

Here at my feet in the short cliff grass

Are shells, dried bladderwrack, broken glass,
Pale blue squills and yellow rock roses.

The next low ridge that we climb discloses

One more field for the sheep to graze
While, scarcely seen on this hottest of days,
 Far to the eastward, over there,
Snowdon rises in pearl-grey air.

Multiple lark-song, whispering bents,

The thymy, turfy and salty scents
And filling in, brimming in, sparkling and free
The sweet susurration of incoming sea.

1.1 The female dancer (Fai) is laying down at the ground, the colve cover her body; she wake up and open her eyes, the colve is meant to be a protaction of
her, meanwhile she is tighten up by it too.

1.2 After she look through the clove, what she felt or imagined are the world full of unknowns, and she decided to be brave

9
https://youtu.be/LnUesmL-1CQ (Start from 1:26)
1.3 End with the dancer running with the white clove, she finally controls the clove, and it will cover the camera, left with a white scene.

2 no. 3. Business girls 02:10 From the geyser ventilators

Molding & Shaping Myself Autumn winds are blowing down
On a thousand business women
Having baths in Camden Town

Waste pipes chuckle into runnels,

Steam's escaping here and there,
Morning trains through Camden cutting
 Shake the Crescent and the Square.

Early nip of changeful autumn,

Dahlias glimpsed through garden doors,
At the back precarious bathrooms
Jutting out from upper floors;

And behind their frail partitions

Business women lie and soak,
Seeing through the draughty skylight
Flying clouds and railway smoke.

Rest you there, poor unbelov'd ones,

Lap your loneliness in heat.
All too soon the tiny breakfast,
Trolley-bus and windy street!

2.1 when the clove open, we will see the pottery wheel
2.2 and we see the process of Candy making the pottery

2.3 and Candy take off her apron and hang it on the rack next to the door at her studio
獨立堅強 [戴珍珠耳環的女人]
一直在追求珍珠，但其實你的眼睛內的光彩比珍珠更加耀眼10

10
https://youtube.com/shorts/txAVg2ble74?feature=share
2.4 we see the final product of her pottery; woman have different size and shape, unique just like the vessels; We should open and embrace ourselves. We
shape ourselves.

2.5 Lines start to appear as the pottery fades away, left with the lines
3 no. 4. Undenominational 01:40 Undenominational
Through the window But still the church of God
He stood in his conventicle
And ruled it with a rod.

Undenominational
The walls around him rose,
The lamps within their brackets shook
To hear the hymns he chose.

“Glory” “Gospel” “Russell Place”

“Wrestling Jacob” “Rock”
“Saffron Walden” “Safe at Home”
“Dorking” “Plymouth Dock”

I slipped about the chalky lane

That runs without the park,
I saw the lone conventicle
A beacon in the dark.

Revival ran along the hedge

And made my spirit whole
When steam was on the window panes
And glory in my soul.
3.1 the lines appear more

3.2 the animation shows the process of the artist drawing

3.3 some wordings will appear, in-between the process of drawing, fade in and fade out

“Glory” “Gospel” “Russell Place” “Wrestling Jacob” “Rock”

“Saffron Walden” “Safe at Home” “Dorking” “Plymouth Dock”
3.4 the building becomes more detailed, and end at the windows of Bethanie (不會被教條規範，反而真正去感受時，靈魂得到解放；I still believe, but I am
above
value)

4 no. 5. Upper Lambourne
The Shining point, Jockey Girl
02:45 Up the ash tree climbs the ivy,
Up the ivy climbs the sun,
With a twenty-thousand pattering,
Has a valley breeze begun,
Feathery ash, neglected elder,
Shift the shade and make it run -

Shift the shade toward the nettles,

And the nettles set it free,
To streak the stained Carrara headstone,
Where, in nineteen-twenty-three,
He who trained a hundred winners,
Paid the Final Entrance Fee.

Leathery limbs of Upper Lambourne,

 Leathery skin from sun and wind,
Leathery breeches, spreading stables,
Shining saddles left behind -
To the down the string of horses
Moving out of sight and mind.

Feathery ash in leathery Lambourne

Waves above the sarsen stone,
And Edwardian plantations
So coniferously moan
As to make the swelling downland,
Far surrounding, seem their own.

4.1 Full of light and smoke, the lighting become darker

4.2 Hei Na wears the clothe made by Chelsea, it is a glorious dress

4.3 at one moment the glorious dress uncover, inside is a chin, independent and strong leathery style costume
4.4 在發光前，都是在準備，只是時間未到，裝備足夠，會可以得到光茫 11 Idol: Frida Kahlo12

11 Clothes (unclothes) https://youtu.be/DsZhTIwJV5E

12墨西哥女畫家
Frida Kahlo 3 歲得小兒麻痹，18 歲因為車禍下半身癱瘓，一生最愛的男人多次出軌，流過三次產，一生做過 32 次手術，但她最後以麻醉劑活
着，一生中創作超過 100 多張畫作，舉辦 5 個個人畫展，更被公認為二十世紀美洲最偉大的女性藝術家之一。
https://youtube.com/shorts/RMYua7IjL2Q?feature=share
5 no. 2. Song of a nightclub proprietress
Capture the beauty
02:50 I walked into the nightclub in the morning,
There was Kummel on the handle of the door,
The ashtrays were unemptied,
The cleaning unattempted,
And a squashed tomato sandwich on the floor.
I pulled aside the thick magenta curtains
So Regency, so Regency, my dear
And a host of little spiders
Ran a race across the ciders
To a box of baby 'pollies by the beer.
Oh sun upon the summer going bypass
Where ev'rything is speeding to the sea,
And wonder beyond wonder that here where lorries thunder
The sun should ever percolate to me.
When Boris used to call in his Sedanca,
When Teddy took me down to his estate
When my nose excited passions,
And my clothes were in the fashion,
When my beaux were never cross if I was late,
There was sun enough for lazing upon beaches
There was fun enough for far into the night;
But I'm dying now and done for,
What on earth was all the fun for?
I am ill and old and terrified and tight.
5.1 Photographer Linda searches at the dark, it is the late night of Hong Kong

5.2 She captures the beautiful thing in the street, the beauty of body

5.3 She sees a club, and starts listening to the woman inside of the club is singing
5.4 She takes the picture of the singer’s body and goes out of the club
5.5 she lights up a cigarette but doesn’t smoke from it.
Everyone will grow old, but most of us are not comfortable with it. Anytime and anywhere will have people older and younger than you, what we can do is to
enjoy every moment we have, without scared and worried.

The year fade away, but our strong mind and belief will stay with us, so the photo is the way of capture the beautiful moment.

6 Bridge Ending: Ensemble dance 02:30 To those strong women

To those who take care of me
To my mother
To those who never heard of I love you, we can love ourselves

6.1 At a beach, all the women wake up

6.2 and start to stand up

6.3 we uncover ourselves, stand up

6.4 we and start to dance

6.5 we walk toward to the sea and we play with the water

6.6 We stand Infront of the sea and looking at the forward.

8. Project Impact
After the screening, we hope to encourage the audience by the video, and they know more about the
importance of female grow, for the victim or who are in pain can maintaining a positive mind.
Moreover, they will have a clear method to seek help when they are facing difficulties. We want to
convey “You are not alone” to the public in an artistic way. Also, we hope everyone can enjoy art and
develop interest in art.
All in all, we want our music and artwork to release the audience's anxiety. This is to enhance the
sustainability of women’s growth.

9. Artists

Film director:
• Wong Choi Fei 黃在飛

• Chan Tsz Shan 陳子山 Adrain

*Please refer to the attached file Chan Tsz Shan Adrain - CV

Sound engineer：
• Wong Tsz Kin 王梓健 Peter
*Please refer to the links below:
https://novenpeter.wixsite.com/peterwong-portfolio
https://wavincity.com/

Pianist
• Lam Yuk Lam 林郁林

Co-Composer
• Cheng Sik Nam Leo 鄭錫楠
Songs with the Female Artists
No. 1. A bay in Anglesey
• Woman Artists: dancer（輝)

No. 3. Business girls

• Woman Artists: pottery 陶瓷 (Candy)
於 2016 年開始接觸陶藝，自此愛上陶藝與釉藥的多變性，現為半職陶藝創作人及陶藝工作室主理人。
作品多以實用器物為主，偏好以明亮的色彩與圓潤的線條表達作品主題。
The Fallen Vases
No. 4. Undenominational
• Woman Artists: Illustrator (Bear)
*Please see the attached file (Bear Ho - CV 2022 & Creative Portfolio)

No. 5. Upper Lambourne

• Woman Artists: costume design 游倬宜 You Cheuk Yi Chelsea
現就讀於香港演藝學院舞台及製作學院，主修佈景及服裝設計。

在校期間曾參與多個校內製作，當中包括：《大刀王五》助理服裝設計師、《In Between 》助理服裝

設計師、《編舞工作坊 II》佈景及服裝設計師、舞蹈作品《Through The Night》服裝設計師以及
《2022 年度戲劇學院畢業生展演》助理服裝設計師。

同時也有參與不同的校外製作，當中包括：葉氏兒童音樂劇團兒童歌劇《愛麗絲夢遊仙境》化妝師、香
港舞蹈團《紫玉成煙》服裝設計師助理、香港藝術節《Rizoma 同生共根》dresser、劇場方程式《屋根
裡》化妝及髮飾設計兼服裝助理等。
No. 2. Song of a nightclub proprietress
• Woman Artists: photographer (Linda)

WHP.LINDA PHOTOGRAPHY:
https://pizzawong1116.wixsite.com/whplinda?fbclid=PAAaaNe-0m7_hSHQsGVbZIqLtWZaLMSQx-
F_9TXIu0s5eEKedtPkb1pIl36vs
10. Reference for Photo shooting

Venue for Exhibition

- HKAPA
- 香港婦女中心協會 Hong Kong Federation of Women's Centres (HKFWC)
- 香港各界婦女聯合協進會 The Hong Kong Federation of Women (HKFW)
- 婦女基金會 The Women's Foundation (TWF)
- 慈善組織心蓮心 Women Helping Women Hong Kong (WHWHK)
- 香港乳癌基金會 Hong Kong Breast Cancer Foundation (HKBCF)
- 香港遺傳性乳癌家族資料庫 Hong Kong Hereditary Breast Cancer Family Registry
- 母親的抉擇 Mother’s Choice
- 保良局
- 聯合國兒童基金香港委員會
11. Bibliography
Research: honours project
Keyword: madeleine dring, Women composers, Nationalism in music
What are the influences of Madeleine Dring
How does Madeleine Dring, a woman composer, choose with elements from jazz?

female:
Beauvoir, Simone de. 2015. The Second Sex. London, England: Vintage Classics.
https://www.womencentre.org.hk/En/Advocacy/domestic_violence/
World Health Organization (WHO).

song:
https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?article=3562&context=rtds
Firchow, Peter. “The American Auden: A Poet Reborn?” American Literary History 11, no. 3 (1999):
448–79. http://www.jstor.org/stable/490128.
https://www.oakham.rutland.sch.uk/news/a-vocal-recital-from-disney-to-dring/

text:
Morse, Gregory Brett. 2005. “The Victorian Influence on the Work of John Betjeman.”
https://search.ebscohost.com/login.aspx?direct=true&db=ddu&AN=ACF59F7C9ECE11E8&site=ehost
-live.
James, Ian. “Re-Making Urban Space : Writing Social Realities in the British City,” 2003.
https://search.ebscohost.com/login.aspx?direct=true&db=ddu&AN=11AD70849C6ED1D6&site=ehost-
live.

madeleine dring:
https://www.hebu-music.com/en/musician/madeleine-dring.46810/
https://academic.oup.com/liverpool-scholarship-online/book/37738login=false
https://britishmusiccollection.org.uk/composer/madeleine-dring

John Betjaman:
Gardner, Kevin J. “Anglicanism and the Poetry of John Betjeman.” Christianity and Literature 53, no. 3
(2004): 361–83. http://www.jstor.org/stable/44313326.
Gardner, Kevin J. “Strange Deliberations: John Betjeman and Protestant Nonconformity.” Christianity
and Literature 63, no. 2 (2014): 225–56. http://www.jstor.org/stable/26194739.

Poem:
Emma Baldwin, "Upper Lambourne by John Betjeman", Poem Analysis, 20 May 2021,
https://poemanalysis.com/john-betjeman/upper-lambourne/.
外文書目
Hancock-Child, Ro. Madeleine Dring: Her Life, Her Music. England: Micropress
Music, 2000.
Kimball, Carol. Song A Guide Art Song Style and Literature. Washington: Pst…Inc,
1996.
Wainwright, Geoffrey, and Karen B. Westerfield Tucker. The Oxford History of Christian
Worship. New York: Oxford University Press, 2005.
Raffe, W. G. Dictionary of the Dance. New York: A. S. Barnes, 1965.
期刊
Brister, Wanda.“The Songs of Madeleine Dring.”Journal Of Singing: The Official
Journal Of The National Association Of Teachers Of Singing 64, no. 5 (May-June 2008): 565-78.
Davis, Richard. “The published songs of Madeleine Dring.”Journal Of Singing:
The Official Journal Of The National Association Of Teachers Of Singing 63, no. 4 (March-April 2007):
393-403.
學術論文
Moses, Tehillah. Twentieth-Century Music For the Oboe. Ball State University, 2011.
Ann Longtemps, Rebecca. Extended Program Notes For Thesis Voice Recital. Florida
International University, 2012.
車炎江。〈馮威廉斯藝術歌曲《四首蕭芙的詩》作品研究〉。東海大學碩士論文，2000。
網路資料
Banfield, Stephen.“Dring, Madeleine (Winefride Isabelle)”Oxford Music Online.
Oxford University Press.
19, 2016)
Brown, David.“Bateson, Thomas”Oxford Music Online. Oxford University Press.
http://www.oxfordmusiconline.com/subscriber/ (April 21, 2016)
London Symphony Orchestra News “Obituary: Roger Lord (1924–2014).”
http://lso.co.uk/more/news/111-roger-lord (January 20, 2016)
“John Betjeman Facts”
http://biography.yourdictionary.com/john-betjeman (January 21, 2016)