香港艺团竞争文化资源的困境

Translated title of the contribution: The predicament of competition for cultural resources among Hong Kong Art Troups

陈云, 甄小慧, 聂本洲 (Translator)

Research output: Journal PublicationsJournal Article (refereed)

Abstract

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.
Translated title of the contributionThe predicament of competition for cultural resources among Hong Kong Art Troups
Original languageMultiple languages
Pages (from-to)106
Journal艺术界
Publication statusPublished - Feb 2013

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