Majestic Drums XX
Hong Kong Chinese Orchestra
Conductor: Chew Hee-chiat
Hand Drum : Abbos Kosimov
Percussion: Luk Kin-bun, Abbos Percussion Group

Beating the way around the world

Abbos Kosimov, world famous master of the doira, the Uzbek hand drum, and winner of Best Hand Drum Performance at the 2001 World Hand Drum Concert, returns to Hong Kong to share the stage with the HKCO after an absence of eight years. He will be bringing his Abbos Percussion Group to launch the audience into the exotic world of Central Asia through Uzbek music and dance. Luk Kin-bun, Assistant Percussion Principal of the HKCO and active percussionist in Hong Kong, will be ‘jamming’ with them for a scintillating performance that crosses East-West divides and takes the audience’s heart by storm!

1st part of the concert:
  • Abbos Group Performance
2nd part of the concert:
  • Abbos Group with HKCO Performance
  • Chew Hee-chiat Percussion and Orchestra (Hong Kong Premiere)
    Percussion: Luk Kin-bun
  • Chew Hee-chiat Let the Thunder of Drums Roll VII.1015
    Audience perform with the artists and HKCO

Hong Kong Cultural Centre Concert Hall
Friendly Reminder

Hong Kong Chinese Orchestra is a Venue Partner of the Hong Kong Cultural Centre
Hong Kong Chinese Orchestra is financially supported by the Government of the Hong Kong Special Administrative Region

Global theatrical innovations from Poland
Theatre of Death
Artist and director Tadeusz Kantor (1915-1990) refused to be guided by texts, placing the emphasis on the visual elements of theatre. Kantor combined radical props and stage design with happenings (different art forms brought together in a live performance) to manifest the absurdity and emptiness of reality. In 1975,Kantor created Dead Class, a controversial play from which he developed the Theatre of Death concept, probing such motifs as death, memory, spiritual transcendence, and the most basic human desires.
Poor Theatre
This form of theatre is derived from the ideas and work of director Jerzy Grotowski (1933-1999). Poor Theatre seeks to distil the essence of the dramatic art form. Grotowski argued that interaction between actors and spectators is the only necessary element in theatre, with lighting, sound effects and set design minimised in his productions. In his view, even the stage could be abandoned. Grotowski also developed training methods that demanded his actors constantly engage in self-exploration, fusing their inner beings into performances.