The Gong Strikes One
Founded in 2012, The Gong Strikes One specializes in Chinese traditional theatre music, creating original works that preserve its musicality and theatricality. The group embraces various performance settings, 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. The group is also known for writing site/occasion-specific Cantonese narrative songs; one of its major projects, Singing Nanyin as We Go (2019-2020, presented by the Intangible Cultural Heritage Office), tours the city with original lyrics specifically written for each district. Recently, supported by the HKADC “Arts Go Digital Platform Scheme, the group has launched the online project, Hong Kong Music Miniatures.
一才鑼鼓成立於 2012 年，專攻戲曲音樂。其作品以音樂會、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。他們又常獲邀為特定活動和地點編撰南音；其中與非物質文化遺產辦事處合作之「南音遊記」(2019-2020)更為香港各區撰寫南音新曲，並於該區一特色地點演出。最近，他們獲香港藝術發展局「Arts Go Digital藝術數碼平台計劃」支持，製作網上項目「香港微音樂」。
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.
李勁持 King-chi LEE
Born in Hong Kong, King-chi Lee learnt Cantonese Opera at the Love and Faith Cantonese Opera Laboratory during her teenage years. She graduated with First Class Honours from the Music Department of the Hong Kong Academy for Performing Arts where she received her music education and majored in the zheng. She then completed an M. Phil. degree at the Music Department of The Chinese University of Hong Kong (CUHK); her research interests include early Cantonese music and music publishing.
She has been active as a zheng player in Cantonese Opera, naamyam as well as Cantonese music performances. During 2014-2017, she was the presenter and coordinator for the lecture-concert series, Interpreting Early Cantonese Music hosted by the Chinese Opera Information Centre, CUHK; in this series, she invites various singers and musicians to perform early Cantonese operatic pieces with the aim of examining early Cantonese music culture, such as amateur culture in the Cantonese music scene, “stage Mandarin” in early Cantonese opera, and traditional instrumentation, etc.
生於香港，少時於朗暉粵劇團習粵劇。以一級榮譽畢業於讀香港演藝學院音樂學院，主修箏。後於⾹港中⽂⼤學⾳樂系修畢哲學碩⼠課程，專研早期粵樂及音樂出版文化。曾活躍於各大小粵劇團之伴奏樂隊，參與南音、粵樂演出，如康樂及文化事務署主辦之「嘆詠前塵」南音演唱會 (2011)、「聆歌聽語」南音演唱會 (2012)、「清音重聞」音樂會 (2014)等。