HKB chairman Daisy Ho, HKB’s fundraiser co-chairs Beatrice Ho and Mira Yeh, as well as the company’s ballet dancers sit down with us for an exclusive interview ahead of the Madame et Mademoiselle fundraiser
Mother-daughter duos Daisy and Beatrice Ho, and Mira and Nadya Yeh, as well as ballet dancers Ruiqi Wang and Larissa Li chat with Tatler on how ballet can empower girls and foster independence in women. The women also speak about this year’s Madame et Mademoiselle charity event which will take place this summer, and will include the ballet’s first mother-daughter fashion show.
Daisy Ho, chairman of the Hong Kong Ballet (HKB)
Daisy, you must be so proud of Beatrice. Did you ever expect your children to follow in your footsteps at the HKB?
I am very proud that my daughter is fully committed to this meaningful cause. True to the spirit of the fundraiser’s theme of female empowerment, I believe in supporting her so that she can blaze her own path instead of following in my footsteps. I hope to be a good role model, but ultimately, she will need to find her own passion and purpose.
When did you first show interest in ballet?
My love for ballet began at a very early age, when I was five years old. I was intrigued by the dancers’ graceful postures and the fluidity of their movements. I begged my parents to squeeze in ballet classes amid my already jam-packed study schedule. To this day, I am still mesmerised by the art form and it brings me peace every time I watch it.
Can ballet empower girls and women? If so, how?
Ballet enables dancers to express a wide range of emotions, and develop tenacity and self-confidence through their training, regardless of their gender. For women, I see the added benefit of bringing out their inner strength and embracing their femininity in a way that is both beautiful and powerful.
Who from the dance and ballet community do you look to for inspiration?
There are many individuals whom I respect, but the sensational [late English ballerina] Margot Fonteyn stands out. Her professional career spanned more than 40 years, which is truly remarkable for a ballerina. After spending her childhood years in Shanghai, she returned to the UK and soon found fame at The Royal Ballet. She captivated audiences with her remarkable stage presence. She did not let World War II—or her age—deter her from dancing, which I see as a true testament to the power of will.
There is freedom in movement and dance. How does ballet foster independence in women?
Ballet is physically and mentally demanding. When girls begin their professional training, often in the vulnerable years of adolescence, they spend long hours away from home. Although they have their coaches and fellow dancers as support, they need to rise above many challenges on their own, such as stress, stage fright and even injuries. This builds rigour, discipline and resilience— all of which are great qualities of leadership that [might] pave the way for future endeavours.
Why is fundraising for the arts of utmost importance to you?
The Hong Kong government and the community have always been very supportive of the HKB. Yet, in addition to the company’s operational expenses, we need extra resources to provide multifaceted support for our performers and raise our productions to a regional, and even an international level of recognition, to ensure sustainable development into the future. Ballet plays an important role in Hong Kong’s cultural fabric and diversity. We have great dancers and an exceptional team, which is why I am committed to going the extra mile for them.
Beatrice Ho, co-chair of the HKB’s Madame et Mademoiselle fundraiser
What’s new for the event this year?
This year, I am honoured to be a co-chair of the Madame et Mademoiselle event. Mira [the event’s co-chair] and I were recipients of Tatler Asia’s Most Stylish Awards in 2021 and 2022 respectively, so we decided to capitalise on fashion as a way to raise funds for the arts. We came up with the idea of producing a mother-daughter fashion show.
