香港艺团竞争文化资源的困境

香港在英治时期，由于政府不愿意培植主流文化，危及政府统治，故此存20世纪60年代之后实施的文化场地与艺术资助，采取政出多门、分而怡之的策略，务求不出现主流意识形态以挑战殖民政府的管治权威，无论该等慈识形态是来自传统华夏文化还是来自现代西方文化。政府鼓励带有中产阶级品位的经典西方艺术和现代艺术，鼓励外国作品的翻译和演绎，却不鼓励本上创作，体现出来的是消极的、各自表述而互不干涉的、平均光谱式的多元化，而不是汇成主流的、有主有次的多元化。政府宣称的多元化，是零散与失佳的委婉表达。

During Hong Kong's colonial period, the British administration was unwilling to cultivate a cultural mainstream for fear that it would threaten the position of the government. As a consequence, a divide-and-conquer strategy characterized the allocation of cultural space and art funding in post-1960s Hong Kong. This approach was intended to preclude the formation of a mainstream ideology that could challenge the authority of the colonial government. Whether that ideology originated in Western modernity or traditional Chinese culture was un-important. The government supported middle-class tastes in modern and classical Western art, as well as translations and interpretations of foreign works. Indigenous creativity never received the same treatment. The result is a scattered, passive, disassociated artistic plurality - not the sort of plurality that contains a hierarchy or the potential to form a mainstream. The government's so-called plurality is in fact a euphemism for dispersion and lack of focus.