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Interview with Patrick Chiu
By Poon Sze Wan

Arts administrators are crucial to the development of artists and arts organisations. How arts administrators work hand-in-hand with artists as they explore new art forms, involves a wide range of expertise. Patrick Chiu, who has been promoting choral singing actively in Hong Kong in recent years, has particular insights into this issue.

A classical conductor himself, Patrick Chiu has been devoting much effort to the promotion of choral singing in Hong Kong, encompassing classical, popular and original repertoires. The Yat Po Singers, the troupe for which he works as one of the artistic co-directors, combines choral singing with theatrical elements and is sponsored by the Hong Kong SAR government through the Arts Capacity Development Funding Scheme (ACDFS). Since choral singing has generally been regarded as ‘non-professional’ both in China and abroad, much has to be done to develop this art form in Hong Kong, such as creating an identity for this activity, building an image of professionalism, recruiting professional personnel, attracting a wider audience, and providing training programmes. In this respect, the participation of professional arts administrators is particularly important.

Patrick cited Yat Po Singers as an example. As an arts organisation focusing on a relatively new art form combining a cappella singing and theatrical elements, Yat Po Singers hires one full-time manager and one part-time executive director, both of whom are responsible for communicating with fellow arts organisations, dealing with the audience, handling day-to-day operations and team building. Everything is yet to thrive. Patrick is also busy training members of The Hong Kong Federation of Youth Groups in a cappella singing, while at the same time leading The Hong Kong Melody Makers, providing training programmes to tutors as well as running workshops of various types. Having been a choral conductor for some time, Patrick said that his prospects in Hong Kong were dim, because, for the general public, ‘choral singing’ was largely equivalent to ‘children’s choirs’ or ‘amateur choruses’ and it did not see the need to raise the standards of local choirs. He pointed out that there had been no training programmes for choral conductors in Hong Kong and he therefore wished to contribute to the art by providing training to local choral conductors. “I am an artist. I cannot do this on my own,” he said. “I need the help of arts administrators.”

A choral conductor and an orchestral conductor are basically performing the same tasks – human resources management – though they work on different repertoires and performance medium. Also, general attributes of team members and the rehearsal techniques used are different. For example, instrumentalists are usually well-trained from a very young age and are used to long hours of practise. Choristers, however, can start singing at any age and do not practise for long hours for fear that strain might develop. Choristers’ training focuses on scales and repertoire, while instrumentalists’ training focuses on performance techniques which are vital for the delivery of music.

The differences in training foster different collective cultures. For example, instrumentalists usually expect the conductor to possess a quick and accurate understanding of the music they play, and they tend to communicate with their instruments rather than directly in the more basic forms of visual communication with the audience. Choristers, on the other hand, are used to facing the audience directly and tend to pay more attention to the conveyance of emotion and self-expression during rehearsals. For administrators and people who are interested in taking part in the choral industry, these are subtleties that they must address, finding ways to engage choristers in rehearsals, coming up with simple and clear rehearsal timetables, and maintaining discipline. All these have to be handled with care. As most local choirs are amateurish in nature and the commitment level of choristers varies, quality of rehearsal also varies. This is where arts administrators may help.

For a choir to turn from amateurish to professional, commitment from every single member is necessary, including administrators. Administrators are crucial in seeking resources and handling chorister-related issues. Patrick was particularly appreciative of the executive director of Yat Po Singers, who, with suitable respect for the artists and choristers he had worked with, managed everything perfectly. He was so attentive that he ordered MSG-free meals for choristers so that they could sing better whilst on stage. His planning and arrangements of overseas tours was so good that everyone felt at ease and was able to remain solely focused on the performance. Patrick made it clear that an arts administrator as experienced, attentive and engaging was hard to come by.

Patrick, however, also understands that members of the team must communicate frequently and work together to promote this art form, rather than letting administrators to do everything. He hopes that all members, regardless of their positions in the team, would have wider visions and would see things from perspectives beyond their own professions – such as keeping an eye on popular trends and hot topics on TV or in magazines so that valuable suggestions could be put forward. “A cappella singing is a cross-disciplinary art form which can adapt itself to various styles: avant-garde, popular or traditional. The fact that there is no model for us to follow is both an advantage and a disadvantage. As there is no one doing the things we are doing, the possibilities are endless. Yet at the same time, it also tests our knowledge and sensitivity. Just as one can view a statue from different angles and still find it equally interesting, a cappella singing can be viewed from a broader and more three-dimensional perspective.”

In order to maintain a certain degree of unity among their productions, Yat Po Singers tends to give priority to works written by local composers and subject matters relating to local issues. Their productions, at times representational and at times abstract, emphasize the synthesis of singing, body movements and theatrical elements. “I believe that the thread will be clear as long as the production stems from a cappella singing,” Patrick said.

One of the toughest tasks of arts administrators is fundraising, and this is often one of the battlegrounds between administrators and artists. Sometimes the artists are asked to fulfill the demands made by the sponsors, or worse still, to give up their artistic ideas. When conflicts occur between the resource providers and the artists, how the artists and administrators deal with these conflicts can have a lasting effect on the development of the organisation. Patrick made it clear that artists were often weaker in this respect and so the advice and efforts of the administrators could be critical. “There is one thing that I insist upon. In, say, a fundraising dinner, no dish should be served while the choir is singing.” By doing so the guests will not be disturbed while enjoying the performance, and respect is paid to the performers at the same time.

Artists often value the artistic experience they offer the audience, while administrators treasure every opportunity to seek resources for the organisation. Insufficient communication can easily lead to disputes. “Sometimes we also need guidance from the administrators because they might see what we do not see. The administrators I have worked with inspired me a lot in this sense.”

As for future plans – and overseas promotions in particular – Patrick made it clear that he hopes administrators will give more macroscopic advice for long-term development, to the point of giving specific suggestions about the prospects and touring opportunities of a new project even during the early stages of the creative process. “An artist and an administrator might easily disagree with each other owing to their different ways of thinking … I don’t mind letting the administrators have the lead in external communication. They might even guide the audience to enjoy the performance in a particular way. Administrators are sensitive to how the public feels. Sometimes they will suggest that certain elements have to be highlighted in the publicity campaign. I tend to respect their professionalism and let them advertise and promote the production in their own ways. The bottom line is that the audience should not come to the show with an expectation that is totally wrong, nor should it feel cheated.” He said administrators must take part in creative meetings and must attend rehearsals so that they obtain an adequate understanding of the production. The administrators who work best with him even give advice on the production itself.

Lack of suitable venues is one of the biggest obstacles for promoting choral singing in Hong Kong. Patrick hopes that suitable venues will be available later in the West Kowloon Cultural District. “We are working on a special art form. Will there be suitable facilities for us in the West Kowloon Cultural District? A venue is important for the development of any art form.” He, however, also realises that chances are slim and it might only be a dream. “It is good for an art form to develop in non-governmental circles. Artistic development led by the government or large institutions sometimes lacks creativity. Many unique ideas do come from small to medium organisations. They are free from burden and therefore more likely to come up with new directions.”

Patrick said the Arts Capacity Development Funding Scheme (ACDFS) indicated a change of attitude on the part of the government, turning to pay attention to long-term development of arts organisations instead of merely focusing on a particular production or aiming for an immediate effect. In the long run, he hopes that institutions for cultural policy will be established and will give stronger support for non-governmental arts organisations.