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IN HONG KONG, the arts become undeniably fashionable (or relevant) whenever they are tagged to a cause - or a controversy.

A year ago, the local cultural scene was in the thick of the West Kowloon development debate, with property consortiums dashing to the shopping malls to put up displays of their personal visions for West Kowloon.

Now that the buzz is dying out and the project has become almost a non-event, the focus has shifted to the Jockey Club Creative Arts Centre,  a $70 million project to transform a Shek Kip Mei  factory building into an all-in-one community-based arts hub.

The unprecedented level of excitement and activity being generated by such proposals certainly gives the impression that the local arts scene is dynamic and thriving. But is that truly the case?

Tobias Berger, the German-born curator  of the contemporary art space Para/Site,  in Central,  has been in Hong Kong long enough to gauge the true state of things.

Mr Berger said those in the art industry in Germany scrutinised art issues and developments with a highly critical eye, while  'in Hong Kong it seems people are happy to get what they are given'.

The curator noted a Hong Kong tendency to turn art and art exhibitions into generic community art. 'Hong Kong has to stop box-ticking to satisfy everyone,' he said, with reference to an administrative process that, under an unspoken rule, prioritises community-based projects, which then stand a greater chance of receiving government funding.

'Art can be developed only through specialisation, rather than through the interest of the masses.

'There is little here in terms of support and market for established artists. We also have to realise that we are no longer an island but closely connected with China and Southeast Asia as well.'

Over in the film world, players and audiences have noted with growing dismay a steady shrinkage in the volume of local productions.

'I think we have to come to terms with the fact that there will be less truly authentic Hong Kong films on the big screen,' said young director Barbara Wong Chun-chun.

Out of economic necessity, co-productions with China, Japan, South Korea and Taiwan are becoming the norm, and this is affecting the kind of films being served up to Hong Kong audiences. They are now seeing more films rooted in mass-appeal visual genres such as the thriller and the action movie, and less of 'thinking' movies driven by dialogue.

'It's a challenge to balance my vision of film with the demands and ideas of investors from different countries,' Ms Wong said.

The demand for manufactured Cantopop remains insatiable. Last year saw the appearance of more newcomers than ever and, while many of these bright young things enjoyed their 15 minutes of fame, the sober fact is most of them will not survive the system.

Someone with a healthy do-it-yourself approach is independent songwriter and singer Alok Leung. He has backed several Hong Kong pop stars while working on film music and his own recordings.

'The climate of the music scene has improved,' he said. 'There is more diversity and people come together to play, bringing along their different musical influences. In the Hong Kong indie scene, musicians are more concerned with their own interests, rather than what the market demands.'

Like many local artists, Leung did not think culturally ambivalent Hong Kong had much to offer in artistic development or rewards.

'I am looking overseas to branch out, and I hope to get more freelance jobs. Over here, you have to get into the right cliques for that.'

Hiram To has worked as an installation artist, curator, writer and arts administrator. He is co-ordinating ArtWalk 2006



Behind the arts scene