In the inaugural week of 2024, I had the honor of immersing myself in two culturally rich and distinctly captivating events, both unfolded on Hong Kong’s illustrious stage of performing arts.

The Golden Bell Stars New Year Concert, held at the Hong Kong Cultural Centre, was a collaboration between Chinese mainland and Hong Kong artists, centered on the captivating themes of Western classical music. This symphonic masterpiece showcased a heartfelt performance marking the dawn of 2024. Separately, Jacky Cheung Hok-yau, the acclaimed “god of Cantonpop”, presented a solo concert at the Hong Kong Coliseum, commemorating his 39-year singing career as a pivotal stop on his world tour.

In the tapestry of global cultural events, Hong Kong stands as a unique stage where audiences are granted an unparalleled opportunity to immerse themselves in a rich array of performing arts. Nowhere else can one encounter such diversity within such a brief time frame, seamlessly woven into the vibrant fabric of this city. This distinctive experience, conveniently clustered within walking distance, sets Hong Kong apart as a cultural haven, allowing enthusiasts to savor the essence of various artistic forms and creating an environment where artistic expressions flourish in harmony, captivating hearts and minds alike.

These two concerts proved to be profoundly enlightening experiences for someone such as me, who is not particularly well-versed in the complexities of music. As an audience member, I found myself not only captivated by the melodious notes but also keenly perceptive of the unwavering dedication and immense talent of the producers. Observing the artists on stage, their synergy was palpable in creating an immersive atmosphere that transcended the auditory senses.

This synergy was evident in every facet of the performance, from the thoughtful curation of song selection to the meticulous attention to detail in music arrangement. Each note seemed purposeful, contributing to the overall tapestry of sound that unfolded before the audience. Classical music was curated in a presentation that balanced sophistication and accessibility. Its allure transcended barriers, captivating not only connoisseurs but also laymen. The pop concert metamorphosed into a transcendent odyssey, transporting attendees to the enchanting realms of iconic venues like the Royal Opera House.

These concerts, in essence, became a gateway for laymen like me to appreciate not only the beauty of music but also the craftsmanship and passion underlying each performance. Their mesmerizing nature went beyond mere entertainment; they became a conduit for a deeper understanding of the artistic process. On such a sonic journey, a palpable commitment to art emerged, defying mere rhetoric. This commitment manifested as a tangible force, saturating every note and movement on stage. The convergence of musical precision and artistic dedication rendered the experience not just auditory but a profound exploration of the emotive power ingrained in the cultural tapestry of classical and contemporary compositions alike.

Another noteworthy aspect of these concerts was the close collaboration among artists from different places, particularly those from the mainland and Hong Kong, fostering a spirit of community of shared values. In the classical concert, the Central Conservatory of Music orchestra took the lead, blending with elite artists from both the mainland and Hong Kong. The pop concert, in addition to featuring the Hong Kong-born protagonist, showcased a symphony orchestra of over 50 members and more than 20 ballerinas from the mainland, Hong Kong and Macao.

This collaborative effort among artists from different parts of China underscored our cultural confidence, one that is not confined to the promotion of Chinese culture alone but was also prominently displayed in the dedicated interpretation of every art form. Be it the intricate melodies of Western opera or the rhythmic beats of pop songs, our ability to excel in performing them marks a defining characteristic of Chinese civilization — the adept integration of the strengths of diverse cultures.

It is a vision that transcends boundaries, offering a beacon of cultural richness and artistic brilliance that resonates far beyond the vibrant streets of Hong Kong, shaping a future in which the city stands as a global cultural epicenter

The 14th Five-Year Plan (2021-25) has bestowed upon Hong Kong the role of a center for international cultural exchanges. Hong Kong is best positioned to perform such a role, given our long experience as a meeting point of the East and the West. Equally important is our rich cultural heritage. Doubtful? Let’s look at some examples: Cantonese Opera has had its glorious days in Hong Kong; we have had almost a century of history in pop culture; and a significant number of young people are trained in classical music since childhood, etc. The two events, capitalized on our talents to blend various cultural elements together, further demonstrated that we are not a cultural desert, as some people might like to portray us.

Time, effort and commitment are required to build a cultural heritage, which in turn nurtures talents. Talents stand as the linchpin of any “center”. Cultivating talents in arts and culture demands substantial investment and unwavering commitment. Personal dedication is equally important. It is crucial for investors to focus on the long-term success rather than immediate or short-term paybacks. Hong Kong tenor Warren Mok (who was featured at the classical concert) becoming a source of pride for Hong Kong, whereas Jacky Cheung’s acknowledgment as the “god of Canton-pop” are outcomes of their decades-long dedication.

While public policies play a pivotal role in promoting artistic development, the sustenance of artistic life ultimately relies on the market. Although Hong Kong once dominated the entertainment industry in the Chinese-speaking community, recent years seem to have witnessed a fading luster. It is not a loss of advantages but a failure to recognize evolving market dynamics. Timely adjustments, adaptation to the new era, new markets and new demands could undoubtedly restore the status of the Oriental entertainment hub. The recent success of the TV series The Queen of News serves as compelling proof that adaptation to contemporary tastes and preferences is the key.

As I reflect on these two mesmerizing musical nights, I am optimistic that the vision of establishing Hong Kong as an arts and culture center is on the verge of realization. It is a vision that transcends boundaries, offering a beacon of cultural richness and artistic brilliance that resonates far beyond the vibrant streets of Hong Kong, shaping a future in which the city stands as a global cultural epicenter.

The author is a public affairs specialist and international affairs commentator. 

The views do not necessarily reflect those of China Daily.