fulbright Taiwan online journal

fulbright Taiwan online journal

Author: Li Hsiang Huang 黃莉翔

Picture of Li Hsiang Huang 黃莉翔
臺灣大學國際企業研究所EMBA企管碩士與德國Dortmund國立多特蒙音樂學院音樂碩士,現為電台節目「江湖音樂廳」製作人暨主持人,著作有《Covid Gigolo新冠舞男》、《走進無牆美術館》與《Beyond EMBA:古典音樂的十三堂職場狂想曲》。 Serving as Fulbright Visiting Scholar in Performing Arts Administration at NYU Steinhardt during the 2021-2022 academic year, Li-Hsiang Huang is a published author and radio program producer and host from Taiwan. She is also currently an Assistant Professor of Music at Soochow University (Taiwan) and the President of Taiwan Creative & Care Association. Li-Hsiang began her career with the international record company Sony BMG, where she collaborated with legendary cellist Yo-Yo Ma as co-producer of two special albums, and as a participant in the Silk Road Project across three continents. She also co-produced the soundtrack for the short film “A Fish with a Smile”, which won a Special Prize at the 2006 Berlin International Film Festival. In other branches of her multifaceted career, Li-Hsiang is also an exhibition curator, radio personality (her program “Music, People, Pandemic” is currently on-air in Taiwan), and writer. Her first book, “Experience Hsinchu” (published in 2017), explored the county of her hometown through the lens of curatorial practice, and highlighted the influence of the global rental marketplace Airbnb on cultural tourism. Her recently published second book, “Beyond EMBA”, is a fictional novel inspired by her experiences in the contrasting worlds of business and classical music. A third book, in progress, will incorporate her experiences at NYU Steinhardt. Li-Hsiang holds a Master of Arts degree in music from University of Dortmund (Germany), and an EMBA degree in international business from National Taiwan University. https://www.lihsianghuang.com/

Three Bach and the Curatorial OMO Concept

2035 vs. 2020 Dubbed “the turnaround king” in arts management, Michael M. Kaiser, the author of Curtains? The Future of the Arts in America (2015), knows the arts industry better than most. “Long before 2035,” Kaiser writes, “It is likely that many productions will be available for viewing at home, on demand.” Furthermore, he predicts that “While these performances should attract sizable audiences, there will be a reduction in overall demand for the classical arts.” Why? “Another two decades without comprehensive arts education and the passing away of many current arts lovers and supporters.” But all of this “will” in his book is happening now. Today, classical musicians and their managers are trapped in all the crises which Kaiser writes about in his book, years earlier than he expected them. After two years of the COVID-19 pandemic’s impact on the performing arts industry, we are making efforts to move forward and find ways to survive. We may discover something that will help us along the way by opening a drawer of history. In the drawer, there is a case that we can refer to: a unique classical music project created by integrating pieces from the classical canon with creative, cross-border

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Research & Reflections

fulbright taiwan online journal