Chan Chun Hay Walter 陳俊熙 is a Hong Kong-based arts practitioner, heritage researcher, and dance journalist whose work explores the efficacy of embodied practice as a medium for cultural memory and community wellbeing. With academic training in archaeology and English, he has served multiple cultural institutions in Hong Kong including museums and heritage conservation units. He is founder of Libertas Culture Studio, recently completed a Design Trust Research Fellowship at HKDI on the design history of Hong Kong public transport, and is co-author of The Swallow Comes Home: The Heritage of Yin Kong (2024). Rooted in years of community-based heritage fieldwork, Walter came to recognise that embodied, relational practice — people sharing memories of place, of belonging, of lived experience — makes heritage vibrant in ways that purely archival inquiry cannot. This understanding has drawn him progressively into dance and movement: practising Tai Chi, training in inclusive dance and improvisation, and integrating these into somatic facilitation. His community programming through — including the Body Exploration Night workshop and book-talking clubs — inquires how movement and dance, as living intangible heritage, foster personal empowerment and communal resilience.

陳抒是現代中國與華語語系文學文化的學者，已發表論著聚焦於二十世紀上半葉通俗文學文化，以及聲音技術的身體政治與歷史經驗。學院發表之外，她將學術研究中對藝術形式、身體與情動(affect)的關注，延伸至對現場表演的觀察和書寫。她相信舞蹈現場真實且真摯的情動力量——「情動於中而形於言，言之不足故嗟歎之，嗟歎之不足故永歌之，永歌之不足，不知手之舞之、足之蹈之也」。她以身體先感，理論後思，藉評論回溯並量度舞蹈作為審美對象，動作的肌理與空間的機理。

Benis Cheng is the Co-founder of BEYOND Bollywood. Her journey in the arts began with a transition from the world of finance—a shift that shaped her thoughtful approach to cultural management, moving away from a focus on numbers to center deeply on human relationships. For Benis, Indian dance serves as a gentle bridge to connect local and global artists while strengthening community ties. As she actively learns to infuse her curation with cultural sustainability, she is also embracing writing as another meaningful medium to connect and share, hoping that these steady, practical efforts can play a vital part in building a warmer and more supportive cultural ecosystem.

跨界別寫作人，熱愛藝術、醉心劇場。中學時代起以不同筆名在各大報章、文藝刊物發表小說、散文、兒童文學及藝評，作品散見《越界》、《快報》、《華僑日報》、《新報》、《青年人雙周報》、《執書》、《築字室》、《香港文學》、《香港作家》、《滄浪》、《文學世紀》等。2011年起開始撰寫舞評，文章主要於《舞蹈手扎》及IATC網上評論平台發表，並於巧.克.力網上學習平台與文友合寫書介專欄《書海蔓話》。現為自由身撰稿人及劇場工作者。

Angela Lee Suk Han has been studying flamenco dance since 2009. She joined Raymond Au and His Flamenco Troupe Los Duende (歐永財魅力弗拉門戈藝術團) in 2012. She has been actively participating in performing, choreographing in many festive events and promoting flamenco arts by published articles and seminars. Lee was awarded the Doctor of Applied Language Sciences from the Hong Kong Polytechnic University in 2020, and her thesis is about “Promoting Performing Arts in Hong Kong – the Use of Evaluative Language in Programme Leaflet” which electronic copy can be found in the PolyU Electronic Theses of Pao Yue-kong Library. She was appointed as a freelance Course Developer for the Capacity Building Mileage Programme (自在人生自學計劃)’s course “Dances’ Characteristics and Cultures” (舞蹈特色與文化) offered by Li Ka Shing School of Professional and Continuing Education of Hong Kong Metropolitan University in 2022. She was invited as a Chinese Writer for the explanatory notes of the special exhibition of Spanish Dances for the 54th Hong Kong Arts Festival in 2026. Lee participated in Dance Enhance in 2015 as well as 2017: a dance appreciation and criticism writing programme organized by the Hong Kong Dance Alliance. She has been contributing dance reviews of various dance programmes, mostly flamenco, for dance journal/hk (舞蹈手扎) and Cultura Hispana, a Spanish online platform for promoting flamenco since 2016. Lee believes, “Write more, appreciate more!”

李諒語，文字人，撰藝評並文化評論，作品見諸電笠、ArtNews等媒體，關注焦點為古今身體觀如何交融於當代形體藝術之中。亦熱衷傳統舞劇訓練，為箜舞（Khon）修習者，二○二四年起師從泰國舞者Padung Jumpan（Pichet Klunchun Dance Company）鑽研猴角，曾於香港泰裔社群活動中作表演。

Alysa is an artist and dramaturg based in Hong Kong, travelling between Asia and Europe. She is graduated with an M.A. in Contemporary Theatre, Dance and Dramaturgy at Utrecht University (2021-2022) with full Holland Scholarship. Then she pursued her choreographic research in ImpulzTanz- Vienna International Dance Festival. She is devoted to researching city, body, and self-identity connections with intercultural projects and community arts. Her research interest ranges from cities to oceanic cultures. Alysa’s work has been presented across various cities, such as Ovidiu, Seoul, Hong Kong, Taipei, Itoshima, Vienna, Kortrijk, Ticino, and Surabaya. She was awarded Arts Impact Fellowship 2025 from WestK, the Emerging Artist Grant 2024 and as resident artist of the “Young Arts Tech Talents Residency Scheme 2024” from Hong Kong Arts Development Council. In 2025, the experimental dance film she made with filmmaker Anson Sham has been selected to screen on umping Frames – Hong Kong International Movement-image Festival. She is currently a resident artist at the Jockey Club Creative Arts Centre. In 2024, she founded If Time’s Limited, a collective platform working in postdramatic performance, with a creative spectrum covering artistic research, experimental, to community arts. Major recent work includes Ivy Says, commissioned by the Hong Kong Arts Centre and awarded "Outstanding Non-Conventional Space Production" in Hong Kong Dance Awards 2026. 獨立藝術創作者，以香港為根，活躍於歐亞作藝術研究及創作演出。她從地域和身體出發，探索在地文化和身份的多重性，研究主題包括海洋和城市記憶。2022年獲荷蘭獎學金，畢業於 荷蘭烏特勒支大學 （Utrecht University）當代戲劇、舞蹈和戲劇構作碩士；同年赴 Vienna International Dance Festival 進修編舞（ATLAS編舞訓練計劃）；2019年在香港浸會大學取得傳理學學士學位。 梁氏作品曾於康斯坦察、首爾、台北、糸島、克特雷特、堤奇諾、泗水、高雄等城市作駐留/演出；2025 年獲得西九文化區Arts Impact創研計劃；其和影像導演合作的舞蹈錄像入選跳格香港國際舞蹈影像節；2024年入選香港藝術發展局「新苗資助計劃」及為「藝術科技人才駐場計劃」駐場藝術家。 現為JCCAC 駐村藝術家。 https://www.alysaleungprojects.com

自由工作者： 編劇、專欄作者、特約專題撰稿 及 故事|劇作構建設計 已完成有科幻電影小說 古典武俠小說 現代短篇小說 (有待出版) 於香港浸會大學傳理學系畢業，曾參與電影及電視製作。期後從事廣告及市場策略工作。

在AI和娛樂過盛的世代，閱讀、寫作、電影和劇場依舊是我的最愛。喜歡劇院和戲院漆黑空間的儀式感，作為劇場空間與肢體美學近距離的觀察者。我不抗拒AI，相反若好好利用，我們的文字和記錄會是訓練人工智能理解人類藝術的最佳且龐大的集體資料庫。我相信評論不只是記錄一場演出，同時也在記錄創作者的成長、人文關懷和文化藝術的發展，繼而演練成一場自我修養與省思。希望透過淺白易明的文字接近大眾，成為編舞者與觀眾之間的橋樑，探索舞蹈和藝術更深層的精神意涵，一同在文字的實踐中繼續學習與交流。

資深舞蹈藝術工作者，專注舞蹈教育及舞蹈書寫。任敎於香港教育大學及嶺南大學等。 積極進行舞蹈研究及書寫工作。委約她的機構包括香港藝術發展局、西九文化區、康樂及文化事務署、香港舞蹈團及城市當代舞蹈團等。 現任香港舞蹈聯盟理事委員會委員，亦為香港藝術發展局舞蹈界別、藝術教育及藝術評論的審批員。 舞蹈研究及評論文章可見於《舞緣。舞故》、《香港舞蹈年鑑》、《香港舞蹈研究》、香港藝術發展局「口述歷史及資料保存」計劃、《舞蹈手扎》、《ARTiSM藝評》、《藝術當下》及《信報》等。

香港大學理學院食物及營養學學系畢業，副修韓文；遊走於理智與感情之間，一名舞者、教育者、瑜伽導師及翻譯。 近年演出合作單位包括西九、大館、稻田身體劇場等；教學方面，除了主流學校外，亦與保良局、無限亮、賽馬會「觸動」舞蹈計劃 、精英運動員協會等團體合作，積極參與共融教育項目及長者社區活動等，相信藝術分享和教育能令社會變好一點點，同時亦希望以文字讓自己及大家思考更多。 希望世界和平，但也不需要太和平。

人類學系碩士生，現活躍於香港劇場；持續探索文本、劇場與社會議題的交織與重構。 An anthropology master's student who is now active in the Hong Kong theatre scene. Continuing to explore the interweaving and reconstruction of texts, theatre, and society.

葉智仁，現任香港樹仁大學社會工作學系講師，業餘以舞評及劇評人身份投身文化領域。他的藝術興趣始於小學的西洋美術史小組課，透過畫冊與藝術家故事，培養了對美學演變的求知熱情。此興趣延伸至人文研究，推動他於香港中文大學研究院專研傳播與普及文化，探索文本、文化與社會的互動。 在藝評方面，他曾參與「舞評寫作交流計劃」及「新戲匠劇評培訓計劃」，並於2018年獲國際演藝評論家協會(香港分會)「動行者: 藝評人自我探索計劃」獎助金，完成「粵劇新戲吾曉睇」自學之旅。這些經歷拓展了他賞析表演藝術的視野，並鞏固了其作為藝評人的堅趣(serious leisure) 身份。

俞若玫，香港作家，大學兼職講師及社區藝術家。2018 年以《墨迷宮》獲IATC 劇評人獎的年度編劇。 2013年開始推廣Creative Aging 社群藝術概念，近年多以創意舞蹈為形式，在不同社區肯定銀髮的創作力及美感，同時建立跨世代及跨領域對話。