In the city of Kaiping, time has stood still for close to a century. Scattered over a fertile plain of rice fields, ponds and farmhouses is a cluster of about 1,800 tower houses combining western and Chinese architectural styles that have remained unchanged for the past 70 years. Built by returning migrant labourers from the US during the Great Depression of the early 1930s, they symbolise not only their new-found wealth but also the migrants' wishes to settle back within their hometown, which lies 140km outside Guangzhou. Today most of these ancestral homes, also known as the Kaiping Diaolou, are empty, although their history will be a highlight of January's City Festival. Spotlight Kaiping tells the tale of the migrant workers who returned intending to settle but then never did. The Diaolou are all that's left. The City Festival programme, which includes a three-month playwright workshop and a photo exhibition in March, sits well with the predominantly contemporary urban festival, says Fringe Club director Benny Chia Chun-heng. The theme of migration, the hopes and aspirations of the workers, bears a strong relevance with today's city life, says Chia. 'Everyone has dreams though they aren't always realised,' he says, adding that it wasn't so long ago that Hong Kong was also a point of transition from which people came and went but never stayed. 'Migrants from Kaiping left for America and the European continent to seek a better life because China at the turn of the last century, towards the end of the Qing dynasty, was plagued with corruption. 'But living abroad presented another set of problems, such as racism. So after the collapse of Wall Street [in 1929], many decided to return home with their new wealth.' Upon their return, these migrants built hybrid structures that combined eastern and western architectural features, such as large arches and European window panels. Since they were able to afford better construction materials, these buildings have stood the test of time. Last year, the Kaiping Diaolou were declared a Unesco World Heritage Site. 'The migrants returned with the intention of settling down, but the country was ravaged by floods, famine and other natural disasters,' says Chia, who is also the festival's artistic director. 'Living there became difficult, especially at night when bandits were about. In fact, the defence features are still evident in these buildings. 'Subsequently, many left the mainland to return to the west, leaving these houses uninhabited,' says Chia, who believes their story is worthy of a play. 'These people were on the verge of realising their dreams, but didn't quite succeed. This has been a common theme in many dramas - the story is therefore very significant.' As part of the Spotlight Kaiping project, veteran playwright Raymond To Kwok-wai will head a workshop series aimed at developing a play based on the region's history and photojournalist Michael Coyne will travel to the area to document, not only the unique buildings, but the people who live there today. What Chia calls the 'China factor' continues to play an important part in next year's City Festival which sees the return of Creative China. Curated again by Kwong Wai-lap, director of programme planning for Fringe Shanghai, this special segment that includes stage performances, rock concerts and a symposium, will look at how independent theatre positions itself in the mainland's performing arts market. Chia says the economy plays an important role in arts and cultural development, and he's curious to find out how emerging mainland artists, whose work doesn't necessarily have mass appeal, support themselves through a lean economic climate. Kwong points out that, ironically, it's the larger performing arts companies that are being affected by the financial crisis because many rely on corporate sponsorship. 'In the meantime, smaller groups are receiving growing support in the form of donations from those who truly believe in what they're doing,' he says. The Guangzhou-based veteran arts administrator says there are a number of things independent arts companies can do to improve their prospects. One is to take advantage of recent changes in the law that allow arts groups to set up a 'citizen-managed, non-profit performance organisation' through the Ministry of Civil Affairs. 'Previously, all performing arts companies had to register with the Ministry of Culture and if their works were not officially approved, then that was that,' says Kwong. 'Now these smaller groups can set themselves up as non-profit community bodies through the ministry.' Fat Bird Theatre from Shenzhen is a product of this new channel and during the festival it will be presenting its FBI Shennong Project, a satire on contaminated food. One way for mainland artists to survive is to go abroad, as dancer Guo Rui did. He studied at the Beijing Dance Academy before enrolling at the Hong Kong Academy for Performing Arts and then joined the Performing Arts Research and Training Studios in Brussels. 'Overseas experience and exposure often elevates the status of Chinese artists on the mainland,' says Kwong. Resilience and years of hard work also pay off, as in the case of hip hop dance outfit Speed Crew from Guangzhou. 'They've worked hard for 10 years and now even the provincial government has given them a base. Their dance school has attracted over 10,000 students.' Creative China also features a symposium called 'A Stage of Possibilities' where mainland artists can share tips with their local counterparts on how to effectively and efficiently stage a production with minimal resources. Chia says next year the festival will introduce a weekend pass for Creative China, making the programme a more integral experience of the event. Now in its 11th year, City Festival will feature a wide range of performances including theatre, standup comedy, music, dance and a large exhibition to be held at the recently opened Jockey Club Creative Arts Centre. Another part of the programme is the Big Band Festival, held at the City Hall theatre on January 23 and 24, featuring bands that have played together at Fringe events. 'This is the last arts festival in the Year of the Rat and I don't think we need be told what a turbulent ride it has been. I hope the Big Band Festival will take people's minds off things,' says Chia. Describing the annual arts event as a 'boutique festival', Chia says that like any arts event, it should be a mirror to the times in which we live. 'As the festival organisers, we have to find a balance between programmes that provoke the mind and those that are diversional - meaning that they must also amuse and entertain the audience.' City Festival, Jan 8-24. For details, call 2521 7251 or go to hkfringeclub.com
