Alan and Becky Dance Group in the Bauhinia Cup International Dance Championship Award 2016.
攝影Photo Credit: Jason Chung
今年夏天， 香港全城的舞蹈活動非常緊密。 舞者們紛紛參與舞蹈節日，與同輩互相切磋，還有參與各類型舞蹈比賽和密集式大師班，以及各香港舞蹈組織們亦分別舉行學校獨奏會和大型表演等，為積極的年輕舞者們提供機會與專業人士一起跳舞。
Hong Kong summer is packed with dance. Dancers go to festivals to benchmark accomplishments with peers, they participate in competitions with intensives and master classes, and organizations put on school recitals and large scale extravaganzas that can even provide aspiring dancers a chance to dance with professionals.
舞蹈比賽、舞蹈節、舞蹈演出 Competitions, Festivals, Performances
文By：白朗唐 Tom Brown
翻譯 Translation: Scarlet Yu
Participant at the Star of Canaan Dance International Ballet Competition 2016.
攝影Photo Credit: Stephanie Ma
始於1994年，由香港舞蹈總會舉辦的《紫荆盃舞蹈大賽》今年已是第八屆。在這十年期間曾停辦過，至今才轉變為每兩年舉辦一次的盛會。 它提供了一個平台為本地舞者、編舞家和團體展示自己的作品，參賽組別有小學組別和一些常規組別，例如中學和成年人組別。比賽歡迎所有舞蹈形式，並且強調表演能力和原創性，類別包括中國和西方的民族舞、中國古典舞、現代舞、爵士舞、街舞、社交舞和芭蕾舞。這也許是當本地最大型的夏季舞蹈比賽，高達800 名本地參賽者和來自澳門、馬來西亞、新加坡、南韓、台灣、內地城市例如北京、深圳和廈門等共150個國際參賽者。為期兩週的預選賽在元朗劇院演藝廳，而決賽則於沙田大會堂演奏廳進行，獲獎者表演和頒奬禮在8月10日於沙田舉行。
Hong Kong Dance Federation Bauhinia Cup Dance Championships, started in 1994 with a ten-year hiatus before becoming biennial, is in its eighth iteration. A platform for local dancers, choreographers, and groups to show their work, it has a junior division for primary school-aged entrants and a regular division that includes both secondary school-aged competitors and adults. It emphasizes performance and originality and welcomes all dance forms; including Chinese and Western folk dance, Chinese classical dance, modern dance, jazz, hip-hop, social dance, and ballet. It’s probably the largest local summer dance competition with 800 local participants and 150 international participants from Macau, Malaysia, Singapore, South Korea, Taiwan and Mainland cities of Beijing, Shenzhen, and Xiamen. It lasts two weeks with preliminaries at Yuen Long Theatre, finals at Shatin Town Hall Theatre, and winners’ performance and prize awarding on 10 August at Shatin.
Among outstanding works were double award winning All of a Sudden, a modern dance piece choreographed by Lau Pik Ki and performed by Alan & Becky Dance Group. It received Bauhinia Cup International Dance Championship Award for Outstanding Choreography and Gold Award for Originality. Another hit was Jay Dance Company’s Chinese dance, Qilin Scholar, a solo choreographed and performed by Wu Kam Ming that also had a double win with a Gold in its category and Outstanding Male Dancer Award. Wu also captured Silver in the same category for his moving performance of his dance, Girl in the Rain, inspired by the film The Danish Girl. Wu’s three dimensional portrayal of the transgender character had grit and a desperate urgency underlying its elegant façade. Falling in Love with Lan Huahua, a lighthearted and high energy duet from Beijing Dance Academy was winner of Gold in Bauhinia Cup International Dance Championship Award.
Two new kids on the block, Asian Grand Prix (AGP), founded in 2011 by So Hon Wah, and Star of Canaan Dance International Ballet Competition (SCDIBC), launched in 2013 by Ivy Chung, are brainchildren of two local ballet dancers who, after retirement from stage, parlayed successful performance careers into enterprising ventures.
蘇漢華乃是香港芭蕾舞團前首席舞蹈員，亦是香港青年芭蕾舞團和香港青年芭蕾舞學院以及AGP的暑期計劃（SIP）的創始人。SIP除了一般技巧課，如足尖課、土風舞、男生課、舞劇選段、現代舞等一般的大師班之外， 還包括解剖學，營養學和基本身體鍛練等課程。踏入第六屆，AGP有280個來自20個國籍的參賽者於柴灣青年廣場劇院Y Theatre進行課程 。除了各類授予金、銀、銅牌獎牌、高級組前賽 （今年高級競賽中沒有金獎得主），AGP亦會頒發「亞洲國際青年大獎」，而今年首次由一位男舞者—Lee Myeonghyun獲得。至於其他香港參賽者，AGP也頒發為期一個月或到全年的獎學金，奬學金得主可以在澳大利亞、加拿大、中國、新西蘭、意大利和英國的學校交流。李顏，《北京國際芭蕾舞暨編舞比賽》的藝術總監及AGP評委會員之一，亦說道：「AGP已經成長為一個具有影響力和國際性競爭規模的賽事，可讓不同國籍和年齡層的舞者受益，同時也大力促進香港芭蕾舞的發展。」
So, a former principal dancer with Hong Kong Ballet is also founder of Hong Kong Youth Ballet and Hong Kong Youth Ballet Academy as well as AGP’s Summer Intensive Program (SIP). In addition to the usual master classes in technique, pointe, character, boys class, repertory, and contemporary dance, SIP includes anatomy, nutrition, and body conditioning. In its sixth year, AGP was held at Youth Square’s Y-Theatre with 280 dancers from 20 nationalities. As well as awarding gold, silver, and bronze medals in various categories - pre-competitive to senior (no gold medal this year in seniors) - AGP also bestows the Youth Asian Grand Prix. This year, for the first time, it went to a male dancer, the outstanding Lee Myeonghyun. As with other competitions in Hong Kong, AGP also awards scholarships ranging in length from a month to a full-year at schools in Australia, Canada, China, New Zealand, Italy, and UK. Li Yan, Artistic Director of Beijing International Ballet and Choreography Competition and a member of AGP jury comments, “AGP has grown into an influential and international competition benefitting dancers of different nationalities and ages while contributing tremendously to the development of Ballet in Hong Kong”.
SCDIBC 讓鍾詠賢，作為前香港芭蕾舞團、加拿大安大略省芭蕾舞劇院和 韓國環球芭蕾舞團舞蹈家，利用她獨特的國際視野和人脈為她的學生以及其他來自香港和海外的年輕舞者獲益良多。 SCDIBC亦在八月中旬在青年廣場劇院Y Theatre舉行，吸引了來自香港，以及加拿大，韓國，馬來西亞，中國內地，新加坡，台灣和美國參賽者。年齡從8到25歲，參賽者跟從年齡層相應地分成初級到高級類別。各年齡組別均頒授金牌、銀牌、銅牌，以及第四、第五名次和「十大得獎者」等等 。與AGP 雷同， 今年高級組別中沒有金獎得主。大會更會頒發部分和全額獎學金予得奬者，他們可到加拿大、韓國、英國（包括英國皇家芭蕾舞團和英國國家芭蕾舞學校）及美國的舞蹈學校，和鐘氏主辦的香港國際青少年舞蹈夏令營交流。
SCDIBC lets Chung, a former dancer with Hong Kong Ballet, Ontario Ballet Theatre (Canada), and Universal Ballet Company (Korea), use her international perspective and connections for the benefit of her students as well as other young dancers from Hong Kong and abroad. SCDIBC was also held at Y-Theatre in mid-August and attracted entrants from Hong Kong as well as Canada, Korea, Malaysia, the Mainland, Singapore, Taiwan, and USA. Ranging in age from eight to twenty-five-years-old, competitors compete in corresponding categories from primary to senior. Gold, silver, and bronze awards are given in each category (as well as 4th and 5th places and ‘Top 10’ – as with AGP, no gold in seniors this year). Full and partial scholarships are also given for schools in Canada, Korea, UK (including Royal Ballet and English National Ballet Schools), USA, and Chung’s own Hong Kong International Youth Dance Festival Summer Intensive.
同時，SCDIBC 也頒發當代舞蹈獎奬項，參賽者除了參與古典舞劇作品和獨舞之外，還必須參與當代舞競賽。值得注意的是，取得「最傑出表現獎」的15歲Yoonji Lee，於作品《Rumor》 所呈現的表現力和技巧能力都特別強。「傑出當代舞編舞獎」的得奬者是郭顯佳 ，獲獎作品《The Theory of Everything》則由18歲的Hennes Ao Xin 演出了出色的舞姿。
SCDIBC also gives awards for contemporary dance; in addition to solos of works from classical repertory, entrants must perform a contemporary dance. Of note was Outstanding Contemporary Performance Awardee, 15-year-old Yoonji Lee, whose dancing in Rumor was particularly strong in both technical ability and expressivity. Outstanding Choreography Award in the contemporary section went to Linus Kwok for his intriguing The Theory of Everything persuasively danced by 18-year-old Yuen Hennes Ao Xin.
除了個別參賽者，學校還可以競逐大型或小型群組作品組別 。郭氏的壓軸《Finale Suite Romantique》 用了拉赫曼尼諾夫c小調第二鋼琴協奏曲，作品第18號，獲得群舞第一名。郭氏的編舞手法簡約、直接到位，而且最重要的是充滿音樂感。 從他如何有自信地處理 16 位舞者，毫不費力的安排舞者從一個段落流動到下一個段落，或流暢地編排幾位舞者於分段裡中演出。 這個作品的全長版協奏曲將在明年於鐘氏芭蕾舞學校15週年紀念演出中上演。
Besides individual entrants, schools also compete in a group category with either small or large group works. Kwok’s Finale Suite Romantique to the allegro scherzando movement of Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18 was the 1st Place winner in the Ensemble Competition. Kwok’s choreographic treatment of this well-known work is simple, effective, and, most importantly, musical. He handles the large group of 16 dancers confidently, effortlessly moving them from one passage to the next and from sections for a few dancers to others for the whole cast. His choreography for the full concerto will be featured in a concert next year for the 15th Anniversary of Chung’s School.
Summer festivals provide ideal opportunities for dancers, choreographers, and companies to see what’s going on in the world of dance and how they fit into that world. This summer participation by Hong Kong artists in two festivals is noteworthy.
The first was the Hong Kong Dance Federation production of Dunhuang Reflections at The 5th Minorities Art Festival of China. Held every five years, this year it had thirty-five groups from across China performing in various Beijing theatres from mid-August to mid-September. Billed as a “grand dance poem”, Dunhuang Reflections was originally produced by the Federation in August 2015 at Shatin Town Hall Theatre. Choreographed by the multi-award winning former Hong Kong Dance Company dancer Felix Chen Lei with a script by Gerard CC Tsang and under the artistic direction of Sin Yuen, the work takes its inspiration from the Dunhuang murals and “reflects on the philosophy of life as revealed by Buddhism”. The piece was a big hit in Hong Kong with stunning dancing and striking costumes, set, lighting, visuals, and music. It was nominated and short-listed for the Hong Kong Dance Award. The original cast of nearly 100 was trimmed to 59 for the tour and included professionals from Hong Kong Dance Company in three leading roles as well as freelancers Wu Kam-ming and Li Hoi-tung. The rest of the dancers were amateurs or students from Alan & Becky Dance Group, Dynamic Dawn Studio, Hong Kong Bauhinia Dance Association, Starwave Production, and Po Leung Kuk Lee Shing Pik College Dance Group. Presented on 24 and 25 August at Beijing’s Cultural Palace of Nationalities, the show received highly favorable reviews from critics and public alike; a recurring theme in their comments was surprise at the performers’ professionalism and the high quality of the production given the majority of dancers were amateurs or students.
舞者於《緣起敦煌》的演出。 Dancers performing Dunhuang Reflections. 攝影 Photo Credit:劉海棟 Liu Hai-dong
曹德寶的作品《土炮》於德國杜塞爾多夫國際舞蹈博覽會2016中演出。 Hugh Cho’s Made in Hong Kong at Internationale Tanzmesse NRW.
另一個節日是於8月 31日至9月3日的德國杜塞爾多夫國際舞蹈博覽會2016（ 下稱Tanzmesse)，由香港藝術發展局（ 下稱藝發局）在駐柏林香港經濟貿易辦事處支持下，組織了60多名香港編舞家、舞蹈藝術家、藝術行政人員等組成的代表團參與其中。這兩年一度的節日是「國際上專業而舉足輕重、致力於推動當代舞蹈發展的平台」。Tanzmesse主要有展覽攤位展示與藝術家有關的作品資料，它也包括講座及研討會，並有 50 個「舞台演出」和40個「示範展演」，藝發局的展覽攤位也擺放了16個香港藝術家和舞蹈組織的資料。此外，城市當代舞蹈團和香港舞蹈聯盟也加入了名為「起勢珠三角」的展覽攤位與其他九個中國參展商平齊 。有三位香港舞蹈家在劇院舞台呈現他們的作品，另外三位則於工作室進行「示範展演」。「舞台演出」 包括陳凱在FFT Kammerspiele 上演的舞碼《直線II》、楊浩在 Tanzhaus演出的《直言不諱》和馮樂恆在Stahlwerk上演的《從頭開始》；「示範展演」 則包括黃靜婷的舞碼《人間．獨． 白》、林俊浩的《ODDs》及曹德寶的《土炮》。
Also significant was attendance from 31 August to 3 September at Düsseldorf’s Internationale Tanzmesse NRW (Tanzmesse) by a delegation of more than 60 Hong Kong choreographers, dance artists, and arts administrators organized by Hong Kong Arts Development Council (HKADC) with the support of Hong Kong Economic and Trade Office, Berlin (HKETO Berlin). Held every two years, Tanzmesse is “the largest professional gathering dedicated exclusively to contemporary dance”. It hosts exhibition halls with booths to display material about artists and their work, includes a dozen panel discussions and talks, and a performance program with 50 theatre performances and 40 open studio presentations. HKADC hosted its own booth at which 16 Hong Kong artists and organizations displayed materials. Additionally, CCDC and Hong Kong Dance Alliance joined nine other Chinese exhibitors at the Delta Moves booth. Three Hong Kong artists presented works on theater stages and three others gave open studio presentations. Stage performances were Classifiable Movement’s presentation of Chen Kai’s Line II at FFT Kammerspiele, Yang Hao’s Outspoken at Tanzhaus, and Victor Fung’s From the Top at Stahlwerk. Open studio presentations were Chloe Wong’s Heaven Behind the Door, Ivanhoe Lam’s ODDs, and Hugh Cho’s Made in Hong Kong.
The Passion of the Earth, Conductor and Arranger: Sean Li, Choirmasters: Alston Ng, Jacky Liong, Choreographer: Ronly Wong, Assistant Choreographer: Malvina Tam, Dancers: Chiu Wing Tung, Cola Ho, Kenny Leung, Li Yuet Sun, Jennifer Mok, Cindy Ng, Ng Wing Ho.
今夏，兩個舞蹈演出— 一套是重新演繹老掉牙的故事，和另一套從一個意想不到的構思所創作的「現代舞製作」都帶來給觀眾賞心悅目的體驗。第一個演出是城市當代舞蹈團製作的《西遊記》，由曹誠淵、鄺韻儀、林詠茵、樂知靄攜手編排， 精心地採用三種表演特色—唱歌、跳舞、演戲所組成。特邀嘉賓王梓軒活靈活現地演繹出舞台主持人一角，另一位特邀嘉賓河國榮演繹引人入勝的說書人，再加上麥卓鴻生動地演繹出不羈的孫悟空。舞者們承接舞台上的正能量帶到觀眾席中，他們親切地與觀眾打招呼和為孩子們製造各款動物氣球，把這份與觀眾的連繫持續了整個晚上。 由CCDC舞蹈中心的學生們演繹的小猴王更是另一個亮點，他們以豪邁的舞姿與專業舞者同台演出精準的舞步和氣派！
This year, two productions, a high-spirited refurbishment of an old chestnut and a “modern dance production” from an unexpected source were particularly enjoyable. The first, CCDC’s Journey to the West choreographed by Willy Tsao, Ronly Kong, Peggy Lam, and Shirley Lok, featured the triple-threat (singing, dancing, acting) Jonathan Wong in a lively portrayal of an on-stage Curator, the engaging Gregory Charles Rivers as Narrator, and an uninhibited rollicking performance from Kelvin Mak as the definitive Monkey King. The dancers used the energy they generated before the show, greeting people and making balloon animals for kids, to build a connection with the audience they sustained throughout the evening. The little monkeys, students of CCDC Dance Centre, were another hit, taking dancing with professionals in their stride – dancing the steps accurately and with panache!
第二套難能可貴的演出，是香港節樂在香港大會堂上演的《受難舞曲》， 當晚演出分為兩段節目，第一段是史特拉汶斯基的《春之祭》，第二段是柴可夫斯基的《悲愴》b小調第6號交響曲，作品第74號。無可否認，《春之祭》可能是有史以來備受編舞家採用的音樂作品。 剛在2013年其誕辰100週年，英國舞蹈評論家伊斯梅布朗（Ismene Brown）估計它被用於超過200個編舞作品上。特別一提，其舞台一反常規的設計，樂團被置於舞台中央前方，舞者們則站立在音樂家頭頂上方的閣樓，面向前舞台。編舞黃銘熙加上協助編排的譚渼樺運用了只有七個舞者，兩男五女（當中三位更是香港演藝學院學生），舞碼只是概略地跟隨音樂的流程。 舞者們從閣樓頂部中央的門進入，在階梯的沿路上運用清晰、簡單的手勢動作一個接一個步出，從而看見他們演繹出舞蹈與音樂之間的對話。在到達閣樓的最低部時，舞者們的下半身完全被欄杆掩蓋着，舞者和它作出不同的互動，例如以它支撐身體跳高、摩擦和從背面往上伸展等等，創作出片段式的畫面。編排創造出靈活的空間，讓音樂家和舞蹈家之間的關係更緊密。香港節樂音樂總監兼指揮李承謙， 帶領了當晚《悲愴》最後的一個樂章—憂傷的慢板（adagio lamentoso），以拉丁彌撒的「信經」為本，再由115 名節慶和聲成員演唱出來。這時候，閣樓已經容不下舞者們，所以編舞運用前舞台讓舞者偶爾穿插於音樂家之間，再一次展現了在舞蹈和音樂之間罕見的互動方式。 壓軸環節是由梁儉豐連同伍詠豪演繹出感人至深的雙人舞，指揮家在舞蹈尾聲也加入舞者們，聯手完成最後一幕。
The second gem was the production at City Hall Concert Hall of Hong Kong Festival Orchestra and Voices, The Passion of the Earth with Stravinsky’s Le Sacre du Printemps as first part and Tchaikovsky’s Symphony No. 6 in B minor, Op. 74, Pathetique as second. Sacre may be the most choreographed piece of music ever. In 2013, on its 100th anniversary, British dance critic Ismene Brown estimated it had had over 200 productions. The Festival’s was unusual in that the orchestra was front and center, on stage, and the dancers were in the tiered choral loft above the players’ heads and in the forestage in front of them. Choreographed by Ronny Wong assisted by Malvina Tam using only seven dancers, two men and five women (three are current students at Hong Kong Academy for Performing Arts), the dance only very loosely follows the music’s program. Entering from a central door at the top of the loft, one by one, the dancers make their way down the stepped platforms with clear, simple, gestural movements that create a dialogue between dance and music. Reaching the wooden partition at the lowest part of the loft, with their lower bodies masked by it, the dancers variously rap against it, stroke it, reach up from behind it, and use it to create fragmented images. The choreography makes the space come alive and the connection between players and dancers palpable. For Pathetique, Festival Music Director and Conductor, Sean Li, set the final movement, adagio lamentoso, to the “Credo” from the Latin mass sung by the 115 strong Festival Voices. No room in the loft for the dancers, they performed on the forestage and occasionally in and among the players that once again brought together the dance and music makers in a way rarely seen. And at the end, after a moving duet by the two men, Kenny Leung and Ng Wing Ho, the Conductor joined the dancers for a final gesture.
明日之星和超新星大賞 Stars of Tomorrow and Stars Award
文 By: 羅佳娜 Natasha Rogai
翻譯 Translation: Scarlet Yu
明日之星 Stars of Tomorrow
Jean M. Wong School of Ballet Stars of Tomorrow. 攝影Photo Credit: 王曼芭蕾舞學校Jean M. Wong School of Ballet
The Jean M. Wong School of Ballet summer show, Stars of Tomorrow, has become a Hong Kong institution. It’s not your everyday school recital, but an extravaganza that puts around 1,000 students on stage. The venue this year was Shatin Town Hall and both the Saturday and Sunday shows were sold out, packed with proud parents, friends, and family of the young performers. Proceeds go to the Tsinforn C. Wong Memorial Scholarship, established in honor of Wong’s late father and the first night opens with presentation of scholarships and other awards. This year’s top prize, the HK$100,000 Margot Fonteyn Award, went to 15-year-old Jeremy Chan Sheung-Yin. A young dancer of exceptional promise, Chan has been accepted into the Royal Ballet School - he starts there this autumn and the award will help fund his studies. Chan follows in the footsteps of the school’s former star pupil Lam Chun-Wing, who last year graduated from Paris Opéra School and became a member of Ballet de l’Opéra company, not only the first Hongkonger, but the first Chinese dancer to achieve this.
《2016明日之星》大匯演分為兩個環節。第一個部份由今年度國際暑期舞蹈班學生演出，他們經過四個星期的密集課程之後，於客席教師編排的短篇小品中展示古典芭蕾、民族舞和現代舞的技巧，演出充满熱情。上半場作結的觸目演出是由荷蘭國家芭蕾舞團兩位明星級客席舞蹈家—Maia Makhateli和Choi Young Gyu主演的《堂吉訶德》雙人舞。
Stars of Tomorrow is divided into two halves. The first features students from the annual International Summer Dance School, a four-week intensive course, in short pieces staged by the Summer School guest teachers and including classical ballet, character dance, and contemporary dance. These were performed with enthusiasm. The first half closed with a sparkling account of the Don Quixote pas de deux by two guest stars from Dutch National Ballet, Maia Makhateli and Choi Young Gyu.
The show’s second half consists of a simplified full-length version of a ballet classic (this year La Fille Mal Gardée) divided into segments created and performed by the School’s various branches that included successive groups of small children portraying chickens, lambs, and butterflies. The discipline and, for want of a better word, professionalism of these very young performers is astounding and shows the famous Hong Kong work ethic starts at an early age.
The lead roles were taken impressively well by two 15-year-olds. The role of Colas was danced by Jeremy Chan, whose elegance of line, neat finishing, and light, buoyant jumps were a pleasure to watch - his is a talent well worth nurturing and he certainly deserves his Royal Ballet School place. Lee Hoi Ying danced the role of Lise with attack and an assurance beyond her years; she possesses a lively stage presence in addition to her technical strength.
超新星大賞 Stars Award
Participant at Hong Kong Ballet Group Stars Award 2016.
攝影 Photo Credit: Tony Luk
更多年輕舞者，以及剛完成《2016明日之星》大滙演的舞者在兩週後亦參與了香港芭蕾舞學會舉辦的《香港芭蕾舞學會超新星大賞2016》。前名為《芭蕾舞超新星大賞》，這比賽自2000年開始，今年更吸引了約450 名參賽者。每位參賽者因應年齡被分為11個初級組和5個高級組（參賽者可同時參與多個組別的競賽），當中成年人亦可參與競逐群舞獎。比賽的參與數字反映了在香港學習芭蕾舞的實況，初級組有300多名女生，而高級組大約 70名參賽者，以及十多名男生參加。
More (and some of the same) young dancers were in action again two weeks later in the finals of the Hong Kong Ballet Group Stars Award 2016. Formerly named the Young Ballet Stars Award, the competition has been going since 2000 and this year attracted around 450 entries. Individual contestants are divided into 11 junior and 5 senior age groups (with some competing in more than one category) and there is also a group dance award in which adults can take part. The numbers reflect the reality of ballet studies in Hong Kong. Over 300 girls in the juniors, around 70 at senior level, and a dozen or so male contestants took part.
The distinction between being a dancer and simply being able to execute steps is evident from an early age and was clearly reflected in the decisions of the judges, Viviana Durante, Vivi Flindt, Bruce Steivel, Sylvia Wu, and the competition’s artistic director, Steven Xavier. Lee Hoi Ying won well-deserved Golds in the Senior Female 1 and Senior Female 3 categories but had to settle for Bronze in Senior Female 2 where Gold went to 13-year-old Ariel Keung Ka Ching. Keung had already stood out in the warm-up exercises and gave a beautifully finished performance - she has the makings of an exquisite dancer and I hope she will continue to pursue ballet. 16-year-old Yee Tin Wai took Silver in Senior Female 2 and Bronze in Senior Female 3 and 17-year-old Wong Chai took Silver in Senior Female 3 - both girls were notably musical and had nice fluidity of movement.
男子組的競賽相比之下小得多，但值得稱讚的是其高水準的表現—這證明了那幾位相當認真地學習芭蕾舞的男參賽者都擁有天賦和決心。高級男子組第一組金獎由14歲的Julian Wen-Shang Gan獲得，而兩位13歲的彭翊展和黃璟熙共同獲得銅獎，陳尚然可惜未能達到他最好的狀態，只能在高級男子組第一組和高級男子組第二組中取得銀獎。對於我來說，男子组最出色的表現，非14歲的陳易希莫屬，他在高級男子組第二組競賽中表演出一個沒有瑕疵、耀眼新輝的《海盜》勇壯變奏版。可悲的是，他只獲得了銅獎，金獎由黃少帥取得，黃氏是在總決賽中唯一的非本地選手，20歲的他來自內地，他所演繹的《堂吉訶德》獨舞雖是華麗，但遠不及同年齡的優秀舞者。此外，七位年輕的獎牌得主同時也獲得了獎學金，以赴波斯科大劇院芭蕾學院和傑佛瑞芭蕾舞團舉辦的國際暑期學校學習。
The male competition, while much smaller, was commendably high in standard - demonstrating that the few boys who do study ballet seriously are those with real talent and dedication. In Senior Male 1 Gold went to 14-year-old Julian Wen-Shang Gan and Bronze was shared between two 13-year-olds, Eugene Pang and Wong King Hei, while Jeremy Chan (not on his best form) won Silver in both Senior Male 1 and Senior Male 2. For me, the outstanding male performance came from 14-year-old Jordan Chan Yeuk Hay, who turned in a faultless, splendidly bravura variation from Le Corsaire in Senior Male 2. Sadly, he only won Bronze, Gold going to Huang Shao Shuai, a 20-year-old from the Mainland (the only non-local contestant in the finals), whose Don Quixote solo was showy but far from outstanding for a dancer his age. In addition seven of the young medalists received scholarships to international summer schools including the Bolshoi Ballet Academy and Joffrey Ballet.