Controversy over Hong Kong arts policy.

HONG KONG - As Hong Kong prepares to shed its colonial status in 1997, with sovereignty to be transferred not to the local people but to the communist People's Republic of China, the question of the territory's political and cultural identity has become urgent, in some cases leading to conflict between the colonial government and local artists.

The galvanizing effect of the democracy movement in Hong Kong and the beginnings of real lobbying power have catapulted the arts onto the colonial government's agenda. As Beijing's influence in Hong Kong grows, however, the government's campaign to support the territory's cultural life is regarded by some as a manipulative strategy. Increasing film censorship suggests that the colonial government may not be truly sympathetic to democracy. Its promotion of an old-fashioned "junkboat" image abroad (in order to encourage tourism) has hampered recognition of Hong Kong's place in the contemporary arts scene, according to local critics.

Many in the Hong Kong arts world - including theatrical performers, visual artists, administrators, and teachers - now pin their hopes on the formation of a new Hong Kong Arts Council whose forward-looking policy could help to safeguard freedom of artistic expression after 1997. British governor Chris Patten has appointed a working group to prepare for the formation of the new arts council. The members of this working group have neglected to consult the arts community, however, with regard either to the proposed council's structure and procedures, or to community representation. "This is contrary to the spirit of accountability and transparency which the government so strongly advocates," says a statement issued by the arts community.

The lack of a democratic arts policy and cultural exchange agenda was underscored recently by the Hong Kong government's decision to deny financial support to Zuni Icosehedron, the territory's most established experimental arts group, for proposed appearances in Belgium.

Zuni, a dance-theater company, is determined to perform at the Brussels International Arts Festival, May 7-10, where they have been invited to appear. But Zuni program coordinator Matthias Woo says that he suspects the Hong Kong government of trying to censor their program, because its refusal of financial assistance came only after the group offered a preview of their new work-in-progress. According to Woo, "One part was in the form of an opera called All You Want to Know About Hong Kong, with two sections describing the territory in the transitional and post-1997 periods using props that included the Chinese communist red star and statues."

The 1994 Brussels Festival will focus on the culture of Hong Kong, China, and Taiwan, extending beyond the exotic and folkloristic to showcase important contemporary creations. "We feel that it is important for Europeans to have greater access to the culture of these regions," wrote Hugo Weckx, a Belgian cultural minister, in a letter to Governor Patten.

At this critical period in Hong Kong's history, international awareness and global vision are essential to Hong Kong's own emerging arts policy.