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[中][ENG] 總監主場 Artistic Director's Home: 郭偉傑 Ken Kwok


Artistic Director's Home

郭偉傑 Ken Kwok

R&T創團人/藝術總監R&T Founder & Art Director

翻譯Translation: Tiffany Wong

踢躂舞自上世紀九十年代起,由敏迪貝蒂(Mandy Petty)在香港演藝學院開始教授,至今在香港已經有二十多年歷史。因爲熱愛舞蹈的緣故,我在演藝學院修讀音樂劇舞期間學習多種舞蹈,當中包括芭蕾舞、現代舞、中國舞、民族舞、爵士舞及踢躂舞。

Tap dance was brought to the Hong Kong Academy for Performing Arts (HKAPA) in the 1990s by Mandy Petty, and has over two decades of history in Hong Kong. Owing to my love and passion for dance, I practiced and studied a variety of dance genres including ballet, modern, Chinese, folk, jazz and tap when I majored in Musical Theatre Dance at HKAPA.

畢業後加入香港舞蹈團,成為全職舞蹈員,主要表演中國舞。機緣巧合下離開舞蹈團到法國進修舞蹈,回港後以踢躂舞為最終發展方向。為何選擇了踢躂舞?除了喜歡踢躂舞的節奏感外,也因為當時香港演藝學院舞蹈學院已沒再開設音樂劇舞主修,踢躂舞亦失去了專業的訓練平台,為了在香港繼續推廣踢躂舞這個舞種,我決定成立R&T(Rhythm & Tempo),延續香港的踢躂舞發展。

After graduation, I joined the Hong Kong Dance Company and became a full-time professional dancer, focusing on Chinese dance. Later, after I left the company to further my dance studies in France, I decided to pursue a path in tap dance when I returned to Hong Kong. Why tap? Other than my fondness for the sense of rhythm in tap, it was also because at that time the Musical Theatre Dance major was dropped at HKAPA, meaning there was no longer a professional training platform for tap. To continue promoting tap as a dance genre in Hong Kong, I founded R&T (Rhythm & Tempo), so that Hong Kong’s tap dance scene could carry on growing


In the beginning, R&T mainly produced small-scale tap dance theatre and street performances under the Leisure and Cultural Services Department’s Community Cultural Ambassador Scheme. We wanted to show people in Hong Kong what tap dance is, to spark their interest and inspire more of them to study tap and watch tap shows in theatres. Compared to a decade ago, when most of the local audience had no idea what tap was, now the majority have gained a general sense of what tap is.

《哥仔姐仔「躂」著火》Brothers & Sisters Tap on Fire ;照片由郭偉傑提供 Photo provided by Ken Kwok

對我來說,香港是一個中西匯聚的大城市,你在香港可以接觸及欣賞到不同的舞蹈藝術,但另一方面香港亦是一個藝術文化沙漠,在推動及創作舞蹈藝術方面不及其他國家發展得快。在世界各地要發展舞蹈藝術都是十分困難,在香港更加是難上加難。這個城市主要以金融商業為主,往往都是利益先行,衣食住行及所有物價指數冠絕全球,所有本 土藝術工作者都需要花很多時間賺取生活費,尤其踢躂舞在香港屬於少數的舞蹈,所以在發展方面就更加困難。經過多年的努力,R&T在2014年成為藝發局的年度資助團體,希望藉此讓踢躂舞這種舞蹈藝術,能在香港繼續發展及普及。

To me, Hong Kong is a cosmopolitan city where East meets West, one can be exposed to different types of dance here, yet then again, Hong Kong is also a cultural desert for the arts, we never catch up with other parts of the world when it comes to promoting and creating works in dance. To develop dance art is hard enough in most countries, however it is even harder in Hong Kong. With finance and commerce as the city’s main industries, making a profit always comes first. Being in one of the world’s most expensive cities to live in, in terms of its price index, local artists have to spend a lot of time working to earn a living, especially tap, being a minority dance genre in Hong Kong, faces even more severe obstacles to develop further. After years of hard work, R&T received Hong Kong Arts Development Council’s Year Grant in 2014, and we hope through this to continue the development of tap in Hong Kong and popularise the genre here.


In Hong Kong’s dance scene, the distribution of resources mainly goes to modern dance, apart from that allocated to the three flagship dance companies. Yet, it’s always better to have all kinds of flowers flourish long term than have some only blossom briefly. It is very difficult to establish a dance company and be able to sustain it. I have witnessed a lot of passionate creators disappearing from the theatres after one or two productions, owing to this problem of inadequate resources. Compared to other countries, dance in Hong Kong has developed slowly despite an early start, as I believe a number of my fellow dance artists would strongly agree. I hope that the Hong Kong Arts Development Council and the Leisure and Cultural Services Department will offer more resources and sponsorship to minority dance genres, so that the local dance scene can blossom continuously in a range of genres in the near future.

《哥仔姐仔「躂」著火》Brothers & Sisters Tap on Fire ;照片由郭偉傑提供 Photo provided by Ken Kwok


In terms of artistic work, Hong Kong audiences do not possess a deep understanding of tap dance. We therefore have to proceed step by step in our creative processes, adding drama or musical elements to first attract the audience, then bring them into a deeper appreciation of tap as a genre of dance. R&T focuses on combining tap dance with Hong Kong’s local culture in our works, utilising objects and happenings that we encounter in our daily lives, such as the “petty person beating” rituals underneath the Canal Road Flyover, household utensils such as pots and containers, plastic water buckets and the ticking of traffic lights. After all, Hong Kong audiences are attracted more to things that express novelty instantly, longer period of time is needed for them to develop a deeper understanding of any form of dance art. Through its creative works, R&T wishes to spread the concept of “art comes from life” and “one art for one life”, to show the Hong Kong audience that the rhythm of life can be as dynamic as the rhythm of tap dance.


It has been eleven years since the founding of R&T. Apart from continuing to create tap dance works with local character, we also plan to collaborate with various musicians. Tap dance is closely related to music – it is “dance you can hear; music you can see”. We anticipate working with different music artists, creating a unique style of tap that belongs to Hong Kong, searching for more breakthroughs visually and aurally and enlightening audience’s eyes and ears towards dance and music.


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