About Us 關於我們

The Gong Strikes One

Founded in 2012, The Gong Strikes One specializes in Chinese traditional theatre music and embraces various kinds of performances, such as concerts, story-telling concerts, theatre and improvisation. Its debut theatre work, I, Wu Song (2017) is a one-man Chinese Opera with no words, which sets out to explore the very essence of operatic movements and music. Since then, the group devotes itself to producing a variety of creative and research projects; recent projects include: the radio programme, Melodies of Chinese Opera (2020 RTHK CIBS), the story-telling concert series, There Under the Sea Lay a Small Gong and a Long Story (2020 Community Cultural Ambassador Scheme); Hong Kong Music Miniatures, an online music library of newly written mini-music based on musical styles and dramatic needs of traditional Chinese theatres; To Learn to Walk (2021; “Let’s be Together Arts Festival x Hong Kong), and Between the Notes, a research project on gongche scores from early Hong Kong (2022; supported by The Lord Wilson Heritage Trust) . 



一才鑼鼓成立於 2012 年,專攻戲曲音樂,以音樂會、說唱、劇場、即興等各種表演形式呈現戲曲之音樂感和戲劇感。其首個劇場作品「俺,武松」(2017)以無唱唸之獨腳戲探索戲曲形體與音樂之極致。此後他們積極製作各類創作及研究項目,近年項目有:電台節目「戲曲輕音樂」(2020 香港電台社區參與廣播服務節目)、說唱系列「在海底拾起銅鑼一面故事一樁說唱幾回」(2020;社區文化大使計劃)、以戲曲曲式與劇情為藍本創作而成之網上音樂庫「香港微音樂」(2021;香港藝術發展局「Arts Go Digital 藝術數碼平台計劃」支持)、互動劇場「學行」(2021;不貧窮藝術節 x 香港)、香港早期工尺譜研究計劃「工尺之間」(2022;衞奕信勳爵文物信託資助)等。

Core Members 主要成員

Kong CHAN 陳志江

At a young age, Chan Chi-kong learnt Cantonese Opera accompaniment from his father. He graduated from the Hong Kong Academy for Performing Arts, where he majored in Cantonese opera accompaniment. He had been an active accompanist in the local Cantonese Opera scene and founded the group The Gong Strikes One in 2012. Since then, he devotes himself to creating original Chinese operatic works. In 2014-2017, he reconstructed and performed historical scores for a lecture-concert series on early Cantonese music presented by the Chinese Opera Information Centre, CUHK.

Recently, he also performs improvised music and collaborates with theatrical works and multidisciplinary performances, including: The Modern-day Flavours of Nanyin and Naamyam at the New Vision Arts Festival (2018), which was soon re-run at Weiwuying TIFA Contemporary Music Platform (2019, Kaohsiung), and the participatory theatre project, “To Behold! To Voice! To Remap!” (2019) produced by Ho Bit Goon.


近年亦涉獵即興演奏、劇場及各類跨界合作,如:新視野藝術節「微藝進行中」(2018) 及衛武營TIFA當代音樂平台(2019,高雄)上演之《南音味自慢》,以及「何必。館」製作的「觀。聲。陣——參與式劇場在地研究計劃」(2019)。

李勁持 King-chi LEE

King-chi Lee learnt Cantonese Opera at the Love and Faith Cantonese Opera Laboratory during her teenage years. She received formal music education at the Department of Chinese Music at The Hong Kong Academy for Performing Arts, where she majored in the zheng under Professor Xu Ling-zi. In her final year project, she studied the accompaniment of Cantonese Opera, which led her to further her studies at the Music Department at The Chinese University of Hong Kong. She developed her research interest in early Cantonese music and its music publishing culture. In her master thesis, she studied The Essential Book of Strings and Songs (絃歌必讀), the earliest extant Cantonese music method book from early 20th-century Hong Kong . In connecting her interests in music research and performance, she initiated for the Chinese Opera Information Centre, CUHK the lecture-concert series, Interpreting Early Cantonese Music, held between 2014 and 2017. As the presenter of this series, she invited Cantonese Opera vocalists and musicians to perform Cantonese operatic pieces from early music scores and discussed early Cantonese music culture, including performance practices of virtuoso amateurs, the Mandarin language used on stage as well as traditional instrumentations.

As a zheng player, she has been active in the local Cantonese Opera scene as well as naamyam and Cantonese music performances. She is a core member of The Gong Strikes One, where she serves as musician and producer.