Charting the scene(s) of sonic arts in Hong Kong

This article analyses recent developments of the Hong Kong sonic art scene s. Based on a series of in-depth interviews with 23 local sonic art practitioners, we discuss the contextual understanding of what constitutes ‘sonic art’ amongst local practitioners, along neighbouring terms such as ‘electroacoustic music’, ‘experimental music’ and ‘computer music’. We also give a description of the new generation of sonic art practitioners which emerged over the past ten years, contributing to a renewed sense of professionalism. These developments are can be understood in relation to four aspects: a strong cluster of interrelated higher education institutions; a shift in public policy supporting ‘art and tech’ projects and cultural organisations; specific individuals, practitioners deeply invested in what we here define as sonic arts, acting as passeurs, connecting underground and academic milieux; and the international integration of Hong Kong-based sonic artists and promoters.