The modern diaspora is a tapestry woven from memory fragments: the half-remembered stories told by elders, the vivid iconography of classic cinema, and the lingering weight of ancient rituals. For Emily Cheung, the Artistic Director of Little Pear Garden Dance Company, these cultural echoes do not belong solely to the past. Instead, they serve as the living, breathing foundation for her latest ambitious work: Echoes of the Underworld.

In the intricate world of Chinese weddings, few roles carry the weight of heritage, superstition, and social etiquette like the Dai Kam (大妗)—a traditional female wedding emcee and consultant often tasked with orchestrating rituals, offering blessings, and ensuring customs are upheld properly. Literally known as “the elder auntie” (Dai Kam Jie 大妗姐), the Dai Kam is considered the indispensable soul of a Chinese wedding, a role traditionally filled by an older woman entrusted with guiding the couple through the complex rites. Once a figure closely associated with older generations and conservative values, the Dai Kam has evolved in recent years.

Acclaimed Malaysian contemporary calligraphy artist Jameson Yap has unveiled a commissioned series of artworks for CloutHaus Residences, the luxury residential component of TA Global Berhad’s latest mixed-use development in Kuala Lumpur City Centre (KLCC). Presented at an exclusive exhibition held at the CloutHaus Sales Gallery on May 14, the showcase marked the venue’s first major cultural activation and reflected the development’s support for local creative talent, and ambitions to position itself as a destination shaped by art, culture, and curated experiences.

For the live audience and the thousands tuning in from their living rooms around the world, time seemed to stand still as a deep, velvety voice filled the room and stirred the souls of everyone listening. The lyrics of an Alan Tam classic were being sung with a storied richness that felt like the warm glow of love that was longed for. An unlikely silhouette emerged and Jackie Li stepped into the light to greet the judges. 

Last week, on April 30, Christie’s Hong Kong presented “The Ai Lian Tang Collection – 800 Years of Chinese Ceramics”, achieving HK$376.7 million with all 20 lots sold. Spanning the Northern Song to Qing dynasties, the collection highlighted the enduring cultural and artistic significance of Chinese ceramics. Strong international bidding reflected sustained global demand for works with distinguished provenance and historical depth. The standout Yuan dynasty “Jinxiang Ting” narrative jar became the most valuable auction object in Asia this year to date, achieving HK$174.9 million (approximately CAD$30.6 million).

PAFF (Pride Asian Film Festival) returns to Toronto for its 2026 edition at Cineplex Cinemas Empress Walk, showcasing a bold lineup of Asian cinema and Canadian short films. Opening the festival is Herman Yau’s We’re Nothing At All, alongside major highlights including Juno Mak’s highly anticipated Sons of the Neon Night, the animated feature Another World, Fish Liew’s award-winning Someone Like Me, Shu Qi’s directorial debut Girl, and a special 4K restoration of Millennium Mambo starring Shu Qi, celebrating a powerful range of contemporary and classic Asian storytelling.