VOYAGE OF THE EIGHT GRACES Will Premiere in Hong Kong

Presented by Hong Kong Dance Company (HKDance) and co-produced with The TENG Company of Singapore, and proudly sponsored by China Merchants Foundation, the original new work Voyage of the Eight Graces will premiere with four performances at the Hong Kong Jockey Club Amphitheatre, The Hong Kong Academy for Performing Arts, from 8 to 10 October 2026.

The production draws inspiration from the cultural essence of the traditional Chinese “Eight Graces”: Music, Go, Calligraphy, Painting, Poetry, Fragrance, Flowers, and Tea. Blending traditional and contemporary theatrical forms, this production elegantly embodies the refined aesthetic of the East. The TENG Ensemble moves beyond classical convention, performing live across a fusion of musical idioms, while the dancers use their body language to explore the spirit of the “Eight Graces”, in contemplating the meaning of life. This cross-cultural dialogue between Hong Kong and Singapore encapsulates the contemporary appeal of intangible cultural heritage from a unique perspective. Voyage of the Eight Graces is a “Partner Programme” of the Hong Kong Performing Arts Expo 2026 and a programme of the Asia+ Festival 2026.

Following its Hong Kong premiere, Voyage of the Eight Graces will embark on its Shenzhen tour with three performances at Multi-function Hall, Bay Opera of Shenzhen on 16–17 October 2026. This tour is supported by the Hong Kong Economic and Trade Office in Guangdong of the HKSAR Government, and the production has been selected for the 2026 Shenzhen “Belt and Road” International Music Festival.

In their first cross-regional and cross-disciplinary collaboration, HKDance and The TENG Company of Singapore weave together music, dance, and theatre to explore the Chinese philosophy of harmony between humanity and nature. The production examines how people today inherit, reinterpret, and reflect upon the cultural values embodied in the “Eight Graces”, drawing inspiration and emotional resonance from these traditions. The narrative follows a traveller named “Ah Ya” (performed by Huang Wenjie, Principal Dancer of HKDance). Through fragments of her diary and life journey across different cities and defining moments, the audience is guided through the spiritual dimensions of the Eight Elegances Graces, embarking on a reflective journey toward balance, mindfulness, and inner peace.

Dance Master of HKDance, and Concept and Choreographer of the production, Huang Lei remarks: “I will describe the stage world of Voyage of the Eight Graces as one of 'flowing imagery'. For example, in the 'Flowers' segment, dancers in flowing skirts move to rhythmically vibrant music, creating kaleidoscopic transformations that evoke petals in motion and the changing seasons. We hope the audience can become fully immersed in this poetic landscape.” He also emphasises that tradition should not be viewed as a static relic of the past, but rather as a living cultural force that continues to evolve and transform.

Meanwhile, Dr Samuel Wong, Concept and Creative Director (Music) of the production from The TENG Company, explains: “My focus has been on uncovering the values and wisdom embedded within the Eight Graces. Through dialogues between Eastern and Western instruments, these cultural insights are translated into a contemporary musical language that remains rooted in heritage while resonating with today's audiences.”

Melissa Leung, Dramaturg and Performance Coach of the production, weaves together a cohesive and emotionally resonant narrative through a series of poetic stage vignettes. She says: “We hope to offer audiences a truly immersive, multi-sensory experience. In the theatre, audiences breathe alongside the performers and collectively experience the power of music, energy, and even silence. We hope that long after they leave the theatre, they will continue to reflect on and savour this journey.” In this production, dance, cross-cultural music, and theatre blend seamlessly and complement one another, creating a stage experience that is both artistically profound and emotionally compelling.

HKDance, in collaboration with The Hong Kong Academy for Performing Arts, Green Theatre Research Partner of the production, has incorporated sustainability principles throughout the production process. Guided by the principles outlined in the Theatre Green Book, the creative team has embedded sustainable mindset into music creation, set design, costume production, and marketing, prioritising the use of renewable or reusable materials to reduce carbon footprint, practicing environmental responsibility while conserving cultural heritage.

Dr Samuel Wong shares his perspective on sustainability in music: “In traditional musical systems, a single core melody can evolve into countless variations with their own unique character and style. The idea of a circular creative process has long existed in traditional practice. By reinterpreting and repurposing existing materials, we can sustain cultural vitality while reducing the use of resources such as paper, labour, and energy. This, in itself, is a meaningful form of sustainable practice.”

Costume Designer Lin Ching-ju, who has collaborated with HKDance for over two decades, has repurposed costume fabrics originally created for the Company's 2002 production The Song of the Earth. Through redesign and reconstruction, these treasured materials will once again take to the stage in Voyage of the Eight Graces, giving new life to fabrics preserved over many years and extending their stage legacy. She explains: “I have always believed that costume design is not only about creating something new, but also about rediscovering and reshaping the value of existing materials. To revisit these fabrics more than twenty years later, fabrics that carry the memories of generations of dancers, feels like reuniting with old friends. We are giving them a renewed purpose and a new life through redesign. This is an embodiment of sustainable practice, as well as a continuation of cultural memory and creative spirit.”

Similarly, Set Designer Wong Yat-kwan also points out that the team thoroughly considered the requirements of a touring production from the initial planning stage, with strong cooperation and support from the production company. In addition to using sustainable timber as the primary material wherever possible, the stage design adopted a modular assembly approach, enabling components to be repeatedly assembled and reused across different performance venues, thereby reducing resource waste. He adds: “I believe the greatest achievement of this project was encouraging the team to genuinely integrate the concept of sustainable development into the production process and put it into practice. It has been an incredibly valuable learning and educational experience.”