1
I. Guideline on Field Trips
Field Trip Routes
Overview of 3 field trip routes:
Suggested time for
field trip
Routes
Objectives
Dates
1. The route and
area of inviting
deities
To help students gain initial
understanding of local
communities in Cheung Chau,
especially the classification of
those using dialects and the
development of temples and their
affiliated associations, through
the field trip to local temples, so
as to know the historical
development of Cheung Chau’s
local community.
The 5th day of
the 4th month of
the lunar
calendar
From about 10 a.m. to
noon
2. The arrangement
of erecting
bamboo poles,
preparing the
festival area and
running the
offerings
To increase students’
understanding of traditions and
religions in local communities
through studying the overall
arrangement of the festival venue
and watching the process of local
religious rites.
During the
daytime of the
7th day of the
4th month of the
lunar calendar.
Recommended to arrive
at Cheung Chau before 9
a.m. to study the
locations of the bamboo
poles erected and the
decorations of the festival
area. The running of the
noon offering begins at
noon and ends at about 1
p.m.
3. The route of the
composite-scene
parade
To enable students to understand
how the composite-scene parade
with Hoklo(Hailufeng)-style
divine possession and little
shamans sitting on knife sedans
disappeared in the early 20th
century; and how the introduction
of colour floats production has
made the religious procession an
attractive, carnival-like, touristic
parade.
The 8th day of
the 4th month of
the lunar
calendar (i.e.
the general
holiday of the
Buddha’s
Birthday)
Recommended to arrive
at Cheung Chau before 9
a.m. to avoid jamming
with the crowd in the
peak hour. Visit various
street associations in the
morning to find out how
they prepare the colour
floats.
About 1 p.m., arrive at
the foreground of the
opera shed to watch the
composite-scene parade.
166 Learning and Teaching Resource Pack for Secondary History Curriculum
Route 1: The route and area of inviting deities
I
Points to note on the field trip:
1. Before setting off, the teacher can introduce to the students the landscape of Cheung Chau and
the location of temples. (See the map on Page 172 of this booklet.)
2. Help students grasp the relationships between the temples and their affiliated associations
through classroom activities. (See Learning and Teaching Exemplar 1.)
3. Explain each route of inviting deities, and observe the process of the Taoist ritual masters
leading the festival helpers through various temples and inviting the deities to the altar.
4. The ceremony of inviting deities begins at 10 a.m., so it is suggested that teachers can gather the
students at Central Pier No. 5 before 9 a.m.
5. Checkpoint 1 (5.1) and Checkpoint 2 (5.2-5.4) include the following routes of inviting deities:
5.1
About 10 a.m., set off from the Pak Tai Temple (i.e. Yuk Hui Temple) to the Pak She Tin
Hau Temple. Tin Hau is invited to join with Xuantian Shangdi (i.e. Pak Tai) in front of
the Pak Tai Temple. From there, they parade together through Pak She Street and San
Hing Street and return to the deities’ altar next to the Pak Tai Temple.
5.2
Take a short break after Tin Hau and Pak Tai have paraded and returned to the deities’
altar. About 10:30 a.m., set off from the Pak Tai Temple, head towards the Tai Shek Hau
Tin Hau Temple and invite Tin Hau to the deities’ altar.
5.3
About 11 a.m., set off from the Pak Tai Temple and break into smaller teams to invite
the deities from Nam Tam Tin Hau Temple, Shui Yuet Temple and Kwan Kung Pavilion
separately.
5.4
Set off from the Pak Tai Temple, head towards Hung Shing Temple and invite Hung
Shing to the deities’ altar.
6. Pay attention to whether the deities from the different temples receive identical treatment, and
record and analyse which street associations the festival participants belong to.
7. The consecration ceremony begins after 9 p.m. and the ritual of initiating the jiao makes it
difficult to arrange students’ visits. Teachers can refer to the Appendix for details and show the
students some relevant photos and video clips during the lesson.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 167
The route of inviting Xuantian Shangdi (i.e. Pak Tai) of Pak Tai Temple and Pak She Tin Hau and
parading through Pak She Street and San Hing Street in 2012
168 Learning and Teaching Resource Pack for Secondary History Curriculum
II
The course of the field trip:
Checkpoint 1: Setting off from the Pak Tai Temple, heading to Pak She
Tin Hau Temple, inviting Tin Hau to go to the Pak Tai Temple, and then
parade with Xuantian Shangdi (i.e. Pak Tai)
The chairman and vice-chairmen of the Jiao Organizing Committee of the current year, the festival
helpers bringing gongs and drums and the Taoist ritual masters go to the Pak Tai Temple and Pak
She Tin Hau Temple to invite Xuantian Shangdi (i.e. Pak Tai) and Tin Hau. The deities are settled on
the sedan chairs and escorted by the deity-inviting team. They start the parade from the Praya Road
to the former Cheung On Market (now the Square), turn at the junction into San Hing Street, walk
along Pak She Street and return to the deities’ altar next to the Pak Tai Temple. The deities are then
carried by the chairman and vice-chairmen of the current year to the deities’ altar for worship.
Photos for reference (1.1-1.4):
1.1
The deity-inviting team, formed by a Taoist ritual master, two Suona (narrow trumpet) players
and numerous festival helpers, inviting Tin Hau from the Pak She Tin Hau Temple at the end of
Pak Tai Street.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 169
1.2
The chairman and vice-chairmen of the Jiao Organizing Committee of the current year
escorted Xuantian Shangdi (i.e. Pak Tai) from the Pak Tai Temple, parading through the Praya
Road, Pak She Street and San Hing Street.
1.3
The sedan chair of Xuantian Shangdi (i.e. Pak Tai) arriving at the deities’ altar and being
settled by the chairman and vice-chairmen on the deities’ altar.
170 Learning and Teaching Resource Pack for Secondary History Curriculum
1.4
The deity-inviting helpers lifting Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan Street from
the sedan chair to the deities’ altar for worship.
Checkpoint 2: Setting off from Tai Shek Hau Tin Hau Temple or Hung
Shing Temple
Inviting other deities on the island:
Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan Street is first invited by its affiliated association to
the deities’ altar. About 10 a.m., festival helpers and Taoist ritual masters arrive at the Tai Shek Hau
Tin Hau Temple to invite the Tin Hau. About 11 a.m., festival helpers and the Taoist ritual masters
go to the Kwan Kung Pavilion, the Shui Yuet Temple and the Nam Tam Tin Hau Temple to invite
the deities. The festival helpers and the Taoist ritual masters bring Tin Hau of Nam Tam Tin Hau
Temple and Guanyin (the Goddess of Mercy) of the Shui Yuet Temple to the front of the Kwan
Kung Pavilion. After meeting with Lord Guandi (i.e. Kwan Kung), the three deities proceed to the
deities’ altar next to the Pak Tai Temple. Another team of helpers and ritual masters go to Hung
Shing Temple to welcome Hung Shing. About noon, representatives of the Ma Sing Temple
Management Association, which is a local fishermen’s association, travel to the Sai Wan Tin Hau
Temple by Kaito ferry and invite Tin Hau of Sai Wan to the deities’ altar and take part in the Jiao
festival. (Note: When the local fishermen’s community invites Tin Hau of Sai Wan Tin Hau Temple,
the team is not accompanied by any helper or Taoist ritual master commissioned by the Jiao
Organizing Committee.)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 171
Location map of temples in Cheung Chau taking part in the Jiao Festival
Temples in Cheung Chau taking part in the Jiao Festival:
1 Pak She Tin Hau Temple
6 Nam Tam Tin Hau Temple
2 Pak Tai Temple (Cheung Chau)
7 Kwan Kung Pavilion
(also known as Yuk Hui Temple)
3 Pak Tai of Tai Ping Shan Street
(without temple)
4 Tai Shek Hau Tin Hau Temple
8 Shui Yuet Temple (Cheung Chau)
9 Sai Wan Tin Hau Temple
10 Chung Hing Street Tin Hau
(without temple)
5 Hung Shing Temple (Cheung Chau)
172 Learning and Teaching Resource Pack for Secondary History Curriculum
Photos for reference (1.5-1.19):
1.5
The deity-inviting team is led by two Taoist ritual masters and one Suona (narrow trumpet)
players to the Tai Shek Hau Tin Hau Temple to invite Tin Hau.
1.6
The Tin Hau statue and her attendants “Thousand Miles Eye” (Qian Li Yan) and
“With-the-Wind Ear” (Shun Feng Er) are taken out, and their dressings are made up well.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 173
1.7
The deities are settled on the sedan chair outside the temple.
1.8
The helpers hit the gong and play the Suona (narrow trumpet) to make way for Tin Hau’s
parade to the deities’ altar.
174 Learning and Teaching Resource Pack for Secondary History Curriculum
1.9
1.10
The deity-inviting team marches through the Praya Road, passes by the Municipal Market,
turns into San Hing Street at the junction, goes along Pak She Street and arrives at the deities’
altar.
Deities of various temples in Cheung Chau are invited to the deities’ altar.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 175
The process of inviting Guandi (Kwan Kung), Guanyin (the Goddess of Mercy) of Shui Yuet Temple and
Tin Hau of Nam Tam
1.11
1.12
Kwan Kung Pavilion
Before inviting Guandi (Kwan Kung), the deity-inviting team performs some rituals.
176 Learning and Teaching Resource Pack for Secondary History Curriculum
1.13
Tin Hau of Nam Tam and Guanyin (the Goddess of Mercy) of Shui Yuet Temple are invited by
the deity-inviting team to the area outside the Kwan Kung Pavilion.
1.14
The persons-in-charge of the Kwan Kung Pavilion carry the sedan chair of Lord Guandi
(Kwan Kung) towards the deities’ altar.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 177
1.15
The deity-inviting team of the Kwan Kung Pavilion is one of the few teams that still insist on
using traditional sedan chairs.
1.16
Guanyin (the Goddess of Mercy) of Shui Yuet Temple arrives at the deities’ altar.
178 Learning and Teaching Resource Pack for Secondary History Curriculum
1.17
1.18
The two Tin Hau of the Nam Tam Tin Hau Temple are settled on the table of the altar.
The sedan chair for inviting the deities is temporarily stored next to the Pak Tai Temple.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 179
1.19
Various deities are assembled on the table of the altar.
(III) Questions to ponder:
1. How are the various temples related to the local community (ethnic groups)?
2. During the course of inviting the deities, the deities are given different treatments by various street
associations. What is the reason and the significance of such differences?
3. What are the changes in the rituals of inviting the deities?
(IV) To know more
Features of streets and areas in Cheung Chau:
Ethnic groups living in Cheung Chau are concentrated at different locations:
1. Huizhou and Chaozhou people reside mainly in Pak She Street and San Hing Street;
2. Cantonese people reside mainly in Tai San Street, Chung Hing Street and Hing Lung Street;
3. The boat people mainly reside on their own boats which are concentrated in the offshore area of
San Hing Street, stretching from Cheung Chau Wan to Sai Wan.
180 Learning and Teaching Resource Pack for Secondary History Curriculum
Map of Cheung Chau streets and town
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 181
Relationships between streets and localities, ethnic groups and temples:
Ethnic groups
Major street(s) of residing
area
Temple(s) in the locality
Cantonese
Hing Lung Street, Tai San
Tin Hau of Chung Hing Street (without
people
Street, Chung Hing Street
temple), Tai Shek Hau Tin Hau Temple,
Hung Shing Temple
Huizhou and
San Hing Street, Pak She
Pak Tai Temple (i.e. Yuk Hui Temple),
Chaozhou
Street
Tin Hau Temple (at the end of Pak She
people
boat people
Street)
Offshore area stretching from
Sai Wan Tin Hau Temple
Cheung Chau Wan to Sai Wan
The establishment of the Pak Tai Temple (i.e. Yuk Hui Temple):
According to Tanaka Issei, Zhongguo jisi xiju yanjiu, trans. Buhe (Beijing: Beijing Daxue
Chubanshe, 2008), pp.66-68. For the plaque inscriptions of Pak Tai Temple (i.e. Yuk Hui Temple),
see also David Faure, H. K. Luk and Ng Lun Ngai-ha, eds. Xianggang be ming hui bian (《香港碑
銘彙編》). Hong Kong: Urban Council, 1986.
1. In 1777 (i.e. the 42nd year of Emperor Qianlong’s reign), Huizhou people who did trade in
Cheung Chau brought along the Pak Tai statue and the incense ashes from the Xuanwu Temple
in Huizhou to Cheung Chau for worshipping.
2. In 1783 (i.e. the 48th year of Emperor Qianlong’s reign), the local community elected Lin Yuwu
as the leader for the founding of the Pak Tai Temple (i.e. Yuk Hui Temple).
3. In 1822 (i.e. the 2nd year of Emperor Daoguang’s reign), the father and the son from the Lin clan
advocated the rebuilding of the temple.
4. In 1838 (i.e. the 18th year of Emperor Daoguang’s reign), Lin’s grandson advocated the
rebuilding of the temple.
5. In 1858 (i.e. the 8th year of Emperor Xianfeng’s reign), Lin Liansheng, the great-grandson of
Lin, advocated again for the rebuilding the temple.
182 Learning and Teaching Resource Pack for Secondary History Curriculum
Collaboration among the Cantonese, Huizhou and Chaozhou people in
the reconstruction of the Pak Tai Temple:
The Pak Tai Temple underwent reconstruction in 1903 (i.e. the 29th year of Emperor Guangxu’s
reign), according to Tanaka Issei, Zhongguo ji si xi ju yan jiu (《中國祭祀戲劇研究》), trans. Buhe
(Beijing: Beijing Daxue Chubanshe, 2008), pp.66-68.
1. People of the three ethnic groups elected the chairman and vice-chairmen to raise fund for the
construction of the temple.
2. People of the three ethnic groups pooled together a sum of 6,000 dollars and bought a steam
ship for the transportation of goods and passengers between Hong Kong and Cheung Chau.
The residues of the annual surplus after settling the cost of the ship is earmarked as the
tenement properties of the temple.
3. From the 1st day of the 5th month of the 29th year of Emperor Guangxu’s reign (i.e. 1903)
onwards, people of the three ethnic groups elected two persons as temple attendants to serve in
the temple. An offertory box is set in the temple for collecting worshippers’ incense money
and regular offerings. Executive committee members of the three ethnic groups assembled
once a month to clear the income account.
4. Apart from the salaries of the temple attendants, the major expenditure of the temple went to
the three devotional Cantonese operas each year, including one each in the 3rd and 4th lunar
calendar months as well as another during the Jiao Festival. 100 dollars was spent each time,
thus amounting to 300 dollars.
5. From then on, all residual incomes of the temple, after the salary payments to temple
attendants, were saved for division among the Cantonese, Huizhou and Chaozhou people
according to each group’s contribution to shares.
The continuity of the deity-inviting rituals:
According to CHOI Chi-cheung’s record in 1981 (See Choi Chi-cheung, Dajiao: Xianggang de jie
ri he di yu she hui (《打醮：香港的節日與地域社會》) (Hong Kong: Joint Publishing, 2000), p.99.
1. In the afternoon before the Jiao Festival of 1981 began, residents of Pak She Street, San Hing
Street and San Hing Back Street cleansed the neighbourhood. This was followed by a
neighbourhood cleaning ritual performed by three Taoist priests wearing black robes, black
hats and carrying black umbrellas who paraded through the streets.
2. After the cleansing of the neighbourhood, Pak Tai of Tai Ping Shan Street, Tin Hau of Pak She
Street and Pak Tai of Pak She Street were invited to parade through the three streets. After the
parade, the statues were settled on the deities’ altar. Other deities were subsequently invited to
the deities’ altar.
3. The deity-inviting activities of today still resemble the features of the parade through those
three streets in 1981:
Xuantian Shangdi (i.e. Pak Tai) of the Pak Tai Temple (i.e. Yuk Hui Temple) and Tin Hau of
Pak She Street parade through the San Hing Street, San Hing Back Street and Pak She Street.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 183
(V) Summary:
Summing up the above observation, Xuantian Shangdi (i.e. Pak Tai) of the Pak Tai Temple (i.e. Yuk Hui
Temple) is the deity worshipped in common by the Huizhou, Chaozhou and Cantonese people residing on
the island and boat people residing offshore. The close relationships between Pak Tai and the Huizhou and
Chaozhou people living on the island can be discerned from the history of establishing the Pak Tai Temple.
The annual organization of the Jiao Festival is also the ground on which Huizhou and Chaozhou people
play the leading role. The Jiao Festival is also a religious festival predominated by Huizhou and Chaozhou
people. Therefore, in the course of inviting the local deities, disparities between the “hosts” and the
“guests” can be clearly seen. Conventionally, the parade of Pak Tai during the deity-inviting rituals takes
place only in the San Hing Street and Pak She Street areas. From observing the details of the rituals, it can
be seen that the participation of local ethnic groups in the festival is stratified into different levels of
primacy.
The different ethnic groups living in Cheung Chau have different levels of
participation in the Jiao Festival:
184 Learning and Teaching Resource Pack for Secondary History Curriculum
Route 2: Erecting bamboo poles, preparing the festival
area and running the offerings
(I) Points to note on the field trip:
1. Before setting out, the teacher can introduce to the students the geographical features of Cheung
Chau (see the map on Page 172) and the layout of the festival area (See the floor plan of the
festival area on Page 190).
2. Students study in advance the day schedule of the organization of the jiao rituals. (See
Appendix.)
3. The teacher can clearly point out that the route is divided into two parts, namely (1) finding the
locations of the bamboo poles, and (2) studying the setting of the festival area and observing how
the noon offering is run.
4. Since most of the rituals of the Jiao Festival are performed in the evening, it is difficult to
arrange such a visit for students. Teachers are recommended to run the field trip during day time
on the 7th day of the 4th month of the lunar calendar.
5. Teachers are recommended to assemble the students at Central Pier No. 5 before 9 a.m. and
arrive at Cheung Chau Ferry Pier about 9 a.m.
6. Teachers can distribute the map of Cheung Chau to students first, and guide them to search for
the location of the bamboo poles starting out from the Pak Tai Temple (Yuk Hui Temple).
Teachers may decide the number of bamboo poles to be found based on the time available for
this task. Students are asked to plot the locations of the bamboo poles on the map (page188), so
as to get them familiarize with the religious nature of the Jiao Festival in cleansing the
neighbourhood, the geographic stretch and its significance.
7. Teachers can take their students to the festival venue and clearly explain the arrangement and the
symbolic meaning of the deities’ altar, the opera shed, the Ghost King’s shed and Jiao Shed
(Shed for Taoist rituals).
8. The group can watch the Taoist ritual masters perform the noon offering ritual, which is one of
the very few religious rituals that are performed during day time.
(II) The course of the field trip:
Part I: Arrangements of the erection of bamboo poles
The Taoist ritual masters firstly perform worshipping rituals in front of the deities’ altar. Then,
starting out from the first bamboo pole in front of the Pak Tai Temple, they present offerings and
read prayers at each bamboo pole they pass by.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 185
The following map shows the locations where bamboo poles are erected. (Please refer to photos No.
2.1-2.9)
The street map of Cheung Chau (Teachers’ version)
186 Learning and Teaching Resource Pack for Secondary History Curriculum
2.6 Next to Tai Shek Hau Tin Hau Temple
2.1 In front of Pak Tai Temple
2.2 At the junction in front of
Pak She Tin Hau Temple
2.7 At the junction of Tai Shek Hau
Road and Cheung Tsun Road
2.3 At the junction of San Hing
Street and Kwok Man Road
2.4 Praya Street (near the ferry pier)
2.8 At the roadside near Fook
Tak Temple
2.5 In front of Hung Shing Temple
2.9 I-Tsz
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 187
The street map of Cheung Chau (Students’ version)
188 Learning and Teaching Resource Pack for Secondary History Curriculum
Part II: The arrangement of the festival area
(please refer to photos No. 2.10-2.13)
Presenting offerings and praying for repentance
Three times a day (i.e. in the morning, at noon and in the evening) during the jiao period, the Taoist
ritual masters lead their child disciples (baiguan) and festival helpers in presenting offerings and
performing the ritual of repentance. They start the parade at the first bamboo pole outside the Pak
Tai Temple and finally come to the 9th bamboo pole at the I’Tsz. At all the bamboo poles, they
present their offerings and say their prayers, thus giving rise to the name “presenting the offerings”.
Afterwards, the Taoist ritual masters perform the morning rituals at the jiao altars, perform the ritual
of repentance and read aloud the Precious Penances of the Three Offices (Sanyuan Baochan). These
are done on behalf of the local residents to petition for the deities’ forgiveness of their wrongdoings.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 189
Floor plan of the Festival Area
190 Learning and Teaching Resource Pack for Secondary History Curriculum
2.10 The opera shed
˙ The deities who are invited to take part in the Cheung Chao Jiao Festival include those from different
temples on the island.
˙ On the 5th day of the 4th lunar calendar month, helpers of the Jiao Organizing Committee and all
associated member communities invite the deities to the deities’ altar to take part in the jiao activities.
˙ The bamboo structure on the left hand side of the photo is the opera shed. This is where the devotional
Cantonese operas are performed during the jiao period.
˙ The bamboo structure at the centre of the photo is the deities’ altar where deities from various temples
on the island are invited so as to take part in the Jiao Festival. When organizing the Jiao Festival,
worshippers come to the deities’ altar to burn incense and pray for protection by the deities.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 191
2.11 The three main deities’ altars of the Ghost King (Da shi wang), the Earth God (Tu di)
and the Mountain God (Shan shen)
˙ Both the Earth God and the Mountain God are deities in charge of local protection.
˙ According to the Taoist ritual master in charge of conducting the rituals, the Ghost King is the
incarnation of the Guanyin (the Goddess of Mercy) and is also called the “Ghost with fiery face”
(Mian ran da shi). Above his head is a small statue of Guanyin (the Goddess of Mercy) equipped
with the power of suppressing wandering spirits from all directions.
˙ The main objective of organizing the Jiao Festival is to assemble wandering spirits from all
directions, drive them off and cleanse the neighbourhood through the Taoist ritual masters’
performance of worshipping rituals. Therefore, during the jiao period, the wandering spirits
which have come are put under the suppression and surveillance of the Ghost King. In the last
evening of the festival, the great offering to the wandering spirits is performed. The paper effigy
of the Ghost King can be burnt only after all wandering spirits are driven off.
192 Learning and Teaching Resource Pack for Secondary History Curriculum
2.12 The Jiao shed (the shed for Taoist ritual masters)
˙
Also called the Sanqing altar, it is one of the major areas of the Jiao rituals performed during the
Jiao Festival. Every day during the Jiao Festival, the rituals of repentance are performed here.
˙
The rituals of repentance are performed by the Taoist ritual masters on behalf of the Cheung Chau
residents to pray for the deities’ forgiveness of their wrongdoings. Therefore, the Taoist ritual
masters must not allow unclean and evil spirits to sneak in. Before the beginning of the rituals,
they have to perform the altar-purifying rituals at this place first.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 193
2.13 The bun tower sheds (with three large bun towers)
˙
Bun towers are the offerings contributed by local communities participating in the Jiao Festival.
˙
Bun towers are of various sizes. Bun towers of recent years are of three main types:
1. Three big bun towers contributed by the Cheung Chau Jiao Festival Organizing Committee.
After the jiao rituals were finished, the buns on the bun tower were traditionally open for
climbing and scrambling by the general public. After the collapse of a bun tower in 1978,
however, the government banned the race of snatching buns on the bun towers. Thus, the
organizing committee changed the race to the organizer’s taking down of buns and
distributing them to the local residents in the early morning.
2. Three bun towers of medium size presented by the Cheung Chau Chiu Chow Association; and
3. 36 bun towers of small size presented by members of the Cheung Chau Pak She Street
Committee. After the Jiao Festival, workers of the Pak She Street Committee take down the
buns from the tower and distribute them to the neighbourhood residents.
(Besides, there is a small bun tower shed in Pak She Street.)
194 Learning and Teaching Resource Pack for Secondary History Curriculum
(III) Questions to ponder (Part A):
What is the symbolic meaning of the location of each bamboo pole?
Suggested answer: Nine bamboo poles are erected at different locations before the Jiao Festival starts so as
to mark the geographical coverage of the festival. This area is exactly where the local resident-participants
live. The bamboo poles are erected mainly at the boundary of this area, symbolizing the area to be purified
during the Jiao Festival. These bamboo poles also serve to assemble wandering spirits to the festival venue
for religious purpose and where they are presented with gift offerings.
In the evening, the ritual of “purifying with incense” (i.e. distributing incense for the sake of purifying) is
performed in the area marked by the bamboo poles. The procession is led by the Taoist ritual masters and
followed by their child disciples and festival helpers who carry a large quantity of burning incense and
parade through the streets. They distribute some of the incense to the local residents and plug some at the
road junctions. Residents take the burning incense home and plug them outside their homes so as to ward
off plagues. At the same time, the Earth Gods within the coverage of the festival venue are invited to the
deities’ altar.
(III) Questions to ponder (Part B):
Describe the objective and nature of the Cheung Chau Jiao Festival with
reference to the various arrangement in the festival venue.
Suggested answer: The Cheung Chao Jiao Festival is a local religious activity for the purpose of driving
off plagues and epidemics, making wishes as well as offering rewards. For details, please refer to the
description of the relevant photos.
(V) Summary:
Studying the locations of the poles, the arrangement of the festival venue and watching the rituals of
presenting the noon offering can help students understand the religious meaning of the Cheung Chau Jiao
Festival. Teachers can use pictures and short video clips to help students realize the fact that the Cheung
Chao Jiao Festival is an annual traditional and religious activity for inviting the deities, driving off the
wandering spirits, cleansing the neighbourhood, showing repentance on behalf of local residents, praying
for forgiveness of everybody’s wrongdoing, as well as praying for luck, fortune, prosperity and peace in
the forthcoming year. In other words, the Cheung Chau Jiao Festival is a plague-relieving, wish-making
and reward-offering local religious activity.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 195
Route 3: The route of the composite-scene parade
(I) Points to note on the field trip:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Since the afternoon of the 8th day of the 4th lunar calendar month is the time for the
composite-scene parade, it is necessary to arrive at Cheung Chau before 9 a.m. to avoid
jamming with the crowd in the rush hour.
If teachers can assemble the students at the ferry pier at 7 a.m. and arrive at Cheung Chau
before 8 a.m., it may be possible to watch the ritual of thanking the bamboo poles performed
by the Taoist ritual masters.
About 9 a.m., the Taoist ritual masters perform the ritual of sending off the flower boat, i.e.
sending off unclean spirits by a flower boat. After finishing this, they would begin with the
ritual of handing out talismans.
About 10 a.m., all sports associations and organizations participating in the composite-scene
parade take turns to perform martial art, qilin dance and lion dance in front of the opera shed.
Teachers can take students to the street associations and sports associations to watch the
production of colour floats. Associations such as the Pak She Street Committee, San Hing
Street Kai-Fong Association, Hing Lung Street Committee, Cheung Chau Sports Association,
Petrel Athletic Association, Tai Sun Street Kai Fong Association, etc. produce colour floats
with unique characteristics every year. If school groups would like to visit the above
organizations, they should contact the persons-in-charge of these organizations in advance.
Under normal circumstances, they invite interested parties to pay visits.
About 1 p.m., all procession teams assemble in front of the opera shed. Due to the large
number of visitors, the police set up iron railings along the whole procession route. Those who
are not festival helpers of the organizing committee can only watch the parade at the roadside
and are not allowed to parade with the procession team.
Teachers are advised to firstly familiarize the students with the route and the whole procession
in advance (i.e. by 12:00 noon) by guiding them along the whole procession route.
Shortly after 1 p.m., teachers and students can watch the procession in Pak She Street and San
Hing Street, and get to know the sequence of events and activities of the parade. After the
procession team has passed by, teachers and students can get back to the foreground of the Pak
Tai Temple facing the junction of Pak She Street and wait for the procession team to come
back.
About 4 p.m., the procession team carrying the deities’ sedan chairs would join the “Buddha
Run”. All sedan chair carrying teams run from Pak She Street to the deities’ altar. The whole
scene is rather exciting and jolly. Shortly after 4 p.m. there is the worship of the mountain,
while the worship of the sea, normally not open for public viewing, takes place about 6 p.m.
The great offering to the wandering spirits of the evening ends at midnight. After 12 p.m.,
there is the race of snatching buns on the bun towers. The last step is to thank the deities. After
the worship, people can break the fast. (Refer to the Appendix for details.)
196 Learning and Teaching Resource Pack for Secondary History Curriculum
(II) The course of the field trip:
The composite-scene parade
(Please refer to photos No.3.1-3.16 for reference and explanation.)
3.1
In 2012, the Cheung Chau Jiao Festival was inscribed onto the National
List of Intangible Cultural Heritage. Thus, it became the the chief
procession item and headed the composite-scene parade of that year.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 197
3.2
Following the flag of the procession leader are three Taoist ritual masters who lead various
deities’ sedan chairs and procession teams. This reflects the religious nature of this activity.
3.3
Following the Taoist ritual masters is the Shing Wong sedan.
198 Learning and Teaching Resource Pack for Secondary History Curriculum
3.4
3.5
Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan Street is the head of the sedan chairs of all
deities.
Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan Street is the native deity worshipped by the
Hailufeng people residing in the Tai Ping Shan Street. They perform a qilin dance featuring the
native traditions of the Hailufeng region.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 199
3.6
Colour floats parade presented by the Wei Hoi Luk Clansmen.
200 Learning and Teaching Resource Pack for Secondary History Curriculum
3.7
Hung Shing in his sedan chair in the midst of the procession team.
3.8
The sedan chair of Tin Hau of Pak She Street passing through San Hing Street.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 201
3.9
3.10
When the procession team passes through San Hing Street, many local residents and tourists
watch and take photographs of the scene from the roadside.
The sedan chair of Guanyin (the Goddess of Mercy) of Shui Yuet Temple in the midst of the
procession.
202 Learning and Teaching Resource Pack for Secondary History Curriculum
3.11
When the deities’ sedan chairs pass by, many local residents present their incense and pray
to the deities.
3.12
Legend characters acted by Taoist ritual masters play juggling to raise the level of
entertainment.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 203
The Buddha’s Run
3.13
The street associations taking part in the composite-scene parade usually return to their own
associations on the return journey. Those who carry the sedan chairs engage themselves in a
running race heading towards the deities’ altar, thus giving rise to the name “the Buddha’s
Run”. According to the local oral tradition, the first team that can send the sedan chair to the
altar will enjoy good fortune in the forthcoming year. This has often caused push and shove as
well as some conflicts. Some years ago, the police ordered the Jiao Festival organizing
committee to arrange the sedan chairs to return to the altar one after another in an orderly
manner. This successfully avoided conflicts, but it also sacrificed the traditional meaning of
competing for good fortune.
3.14
Young and energetic residents carrying the sedan chair of Guanyin (the Goddess of Mercy) of
Shui Yuet Temple run fast to the deities’ altar in the hope of enjoying good fortune in the
coming year.
204 Learning and Teaching Resource Pack for Secondary History Curriculum
3.15
After returning from the parade, the deities are brought by the festival helpers back to the
deities’ altar for settlement.
3.16
The parade activities come to an end after the deities are carried back to the deities’ altar.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 205
(III) Questions to ponder:
1. What changes of the tradition can be found by comparing the parade routes and detailed
features of the parade of different periods? (Refer to To Know More.)
2. Who take part in the Jiao Festival? Why does the Jiao Festival cover merely these areas?
(This can be discussed together with Route 1.)
3. Refer to question 2, what are the different local community organizations found in the festival
venue? (e.g. Kai fong / street associations, clansmen associations, clans and ancestral halls,
guilds, etc.)
4. In what ways do the above community organizations take part in the Cheung Chau Jiao
Festival? (Refer to the video clip for Questions 2-4.)
206 Learning and Teaching Resource Pack for Secondary History Curriculum
(IV) To Know More:
Changes of the composite-scene parade
The routes of the composite-scene parade in 1977 and 2012
Source: Cheung Chau Dajiao Committee, Changzhou Xuantian Shangdi tai ping qing jiao hui jing xun you da hui te
kan (1977) (《長洲玄天上帝丁已年太平清醮會景巡遊大會特刊(1977)》) (Hong Kong: Jiao Festival of Cheung
Chau Committee: 1977).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 207
The route of the composite-scene parade in 2012
208 Learning and Teaching Resource Pack for Secondary History Curriculum
The procession route of 1977
The procession route of 2012
1
Pak Tai Temple Playground
1. Pak Tai Temple Playground
2
Pak She Street
2
Pak She Street
3
San Hing Street
3
San Hing Street
4
Praya Road
4
Praya Road
5
Shing Cheong Lane
5
Shing Cheong Lane
6 Tai Sun Street
6 Tai Sun Street
7
7
Chung Hing Street
Chung Hing Street
8 Tai Tsoi Yuen Road
8 Tai Tsoi Yuen Road
9 Tai San Back Street
9 Tai San Back Street
10 Hing Lung Back Street
10. Hing Lung Main Street
11 Tung Wan Road
11 San Hing Back Street
12 Cheung Chau Beach Road
12 Pak She Street
13 Kwok Man Road
13 Pak Tai Temple Playground
14 Pak She Street
15 Pak Tai Temple Playground
The order of the deities’ procession on the 8th day of the 4th lunar calendar
month:
1. The sedan chair of Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan Street
2. The sedan chair of Hung Shing of Cheung Chau
3. The sedan chair of Tin Hau of Sai Wan
4. The sedan chair of Tin Hau of Chung Hing Street
5. The sedan chair of Tin Hau of Nam Tam
6. The sedan chair of Tin Hau of Pak She
7. The sedan chair of Guanyin (the Goddess of Mercy) of Shui Yuet Temple
8. The sedan chair of Guandi (Kwan Kung) of Kwan Kung Pavilion
9. The sedan chair of Pak Tai of Pak Tai Temple (i.e. Yuk Hui Temple)
(Also including the qilin dance, lion dance and colour floats of other community organizations in
between)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 209
1. Putting the procession routes of 1977 and 2012 together for comparison, the major difference is that,
in 1977, the procession entered Tung Wan Road, while it turns from Hing Lung Street into San Hing
Back Street and returns to the festival area via San Hing Street and Pak She Street, instead of turning
into Tung Wan Road.
Before 1964, the festival area of the Cheung Chau Jiao Festival was set in the Tung Wan area, and the
procession had to turn into the Tung Wan festival area. In 1959, the Cheung Chau Chinese Chamber of
Commerce requested funding from the government to build a large playground in front of the Pak Tai
Temple. The construction was finished in 1964 and was named the Pak Tai Playground. Since then,
the festival area has also been transferred from Tung Wan to the Pak Tai Playground. In the early years
after its move, the procession still turned into Tung Wan Road according to traditions, and went back
to the festival area through Kwok Man Road and Pak She Street. In recent years, however, the
procession route has already been different and turned into Tung Wan Road no more.
2. Nowadays, the promotion materials printed by the Jiao Organizing Committee and the Hong Kong
Tourism Board do not mention divine possession any more.
3. The fact that the festival area, the procession route and the detailed features of the procession can
change reflects the point that local traditions and festivities can change together with the actual social
circumstances. There is not any constant and unchanging tradition.
Extended reading:
Please refer to the following publications of James W. Hayes for the history of the local community of
Cheung Chau:
1. Hayes, James W. “Cheung Chau, 1850-1898: Information from Commemorative Tablets.” Journal of
the Hong Kong Branch of the Royal Asiatic Society 3 (1963), 88-106.
2. Hayes, James W. “Chang Yu-tang and an old Hanging Scroll from Cheung Chau”, Journal of the
Hong Kong Branch of the Royal Asiatic Society 15 (1975), 311-318.
3. Hayes, James W. “The Community of Cheung Chau”, in The Hong Kong Region, 1850-1911, edited
by James W. Hayes, 56-84. Hamden: Archon Books, 1977.
4. Hayes, James W. “Lantern Festival, Cheung Chau, 10th February.” Journal of the Hong Kong Branch
of the Royal Asiatic Society 26 (1986), 267-270.
5. Hayes, James W. “Notes and Impressions of the Cheung Chau Community”, in Down to Earth: the
Territorial Bond in South China, edited by David Faure & Helen F. Siu, 89-103. Stanford: Stanford
University Press, 1995.
For the changes and development of post-Second World War local community organizations of Cheung
Chau, please refer to Yao, Souchou. Class, Culture and Structural Domination in a Colonial Situation:
Changing Community Leadership on Cheung Chau Island, Hong Kong (Ph.D. Thesis). Adelaide:
University of Adelaide, 1983.
210 Learning and Teaching Resource Pack for Secondary History Curriculum
In the 1970s-80s, Choi Chi-cheung and Tanaka Issei conducted in-depth research into the Cheung Chau
Jiao Festival. Both scholars have written extensively on the local religious conditions of Cheung Chau.
Choi Chi-cheung’s research outcomes:
6. Choi, Chi-cheung, “Reinforcing Ethnicity: the Jiao Festival in Cheung Chau”, in Down to Earth: the
Territorial Bond in South China, edited by David Faure and Helen Siu, 104-122. Stanford: Stanford
University Press, 1995.
7. 蔡志祥，《打醮：香港的節日和地域社會》
，（香港：三聯書店，2000），頁 89-110。
8. 蔡志祥，〈香港長洲島的神廟：社區與族群關係〉，陳春聲、鄭振滿編，《民間信仰與社會空間》
（福建：福建人民出版社，2003）
，頁 354-381。
Tanaka Issei’s research outcomes:
9. 田仲一成，
〈宝安県長洲北帝廟祭祀〉
，
《中国祭祀演劇研究》
（東京：東京大學東洋文化研究所，
1981），頁 65-99。
10. 田仲一成，〈南頭黃氏と長洲墟建醮祭祀〉，《中囯の宗族と演劇 : 華南宗族社会における祭祀
組織・儀礼および演劇の相關構造》
（東京：東京大學東洋文化研究所，1985）
，頁 227-302。中
譯本見錢杭、任余白譯，
《中國的宗教與戲劇》（上海：上海古籍出版社，1992），頁 70-101。
General references:
11. The yearly gazette of the Cheung Chau Jiao Festival published since 1967, which contains detailed
records of participants and activities arranged.
(http://www.grs.gov.hk/PRO/srch/english/sys_all.jsp?language=chinese)。
12. The Public Records Office of the HKSAR Government houses the correspondence and documents
between the Cheung Chau Jiao Festival organizing committee and the government during the
1960s-70s regarding the preparation of the Jiao Festival. Users can search through the following
website: (http://www.grs.gov.hk/PRO/srch/english/sys_all.jsp?language=chinese)。
13. 科大衛、吳倫霓霞等編，
《香港碑銘彙編》
（香港：市政局，1986）. The inscriptions on tablets and
plaques provide invaluable information on the 19th-century society of Cheung Chau.
14. 張一兵校點，
《深圳舊志三種：天順東莞舊志、康熙新安縣志、嘉慶新安縣志》
（深圳：海天，
2006）。
15. The past newspapers of Hong Kong archived by the Hong Kong Central Library can be searched
through the Multimedia Information System of the Hong Kong Public Libraries
(https://mmis.hkpl.gov.hk/web/guest).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 211
(V) Summary:
According to an article related to the origins of the Pak Tai Temple of Cheung Chau published in the
Jiao Festival Gazette of the year 2000 (without page numbers), cited from a publication by the
Temples Commission of the Secretariat for Chinese Affairs in December 1966:
“In about 1894, a mystical event happened and people boasted about the reputation of Pak Tai.
Cheung Chau had just witnessed an unprecedented plague. The residents were nervous and could not
respond otherwise but to pray day and night that Pak Tai would suppress the epidemic. Suddenly, a
Hoklo man appeared in the temple. He was drunken and murmured that he himself was the
incarnation of Pak Tai. He ordered people to make a sedan chair installed with sharp knives as the
seat and stepping board, and send it to the plague-stricken area. The public followed his commands
and get everything ready for the ritual. The Hoklo man boarded the sedan chair with his bare feet and
was paraded around Cheung Chau for the whole day. Nevertheless, that Hoklo man has disappeared
since then and the knife-filled chair was once stored in the temple, but now it is gone. An old saying
has it that the knife-filled chair has already been shipped to the British museum.”
From the above, it can be seen that the procession of deities and figures is an important ritual for
cleansing the locality. Also named the composite-scene parade, it has now become a renowned tourist
activity. The procession includes many feature shows, namely qilin dance, lion dance, juggling, dance
and colour floats, to raise the fame and prestige of the festival. It is worth some attention that the
colour floats parade prepared by the various street associations and sports associations are attractive
since they include both traditional and contemporary themes critical of current issues. Yet, they are
too attractive to draw visitors’ attention away from its religious nature.
212 Learning and Teaching Resource Pack for Secondary History Curriculum
Appendix: The schedule and details of the Cheung
Chau Jiao Festival
Figuring out the schedule and details of the Jiao Festival is essential to the understanding of the meaning
of this religious ritual. It is recommended that teachers clearly deliver the sequence and details of the jiao
rituals, including the deity-inviting ceremony, presenting offerings and the ritual of repentance,
consecration ritual, starting the jiao, running the noon offering, feeding the water ghosts and the Mountain
God, welcoming the deities, the composite-scene parade, the great offering to the wandering spirits,
thanking the deities and breaking the fast.
The schedule and details of the Cheung Chau Jiao Festival:
Taking 2012 as an example:
From the 6th day to the 9th day From 11 p.m. of the 6th day
of the 4th lunar calendar month to 2 a.m. of the 9th day
Fasting period
From the 5th day to the 12th
day of the 4th lunar calendar
month
Performing devotional Cantonese operas to thank
the deities:
The public show of Cantonese opera for 3 days and 4
nights, and Hailufeng white-characters opera for 4
nights
The 5th day of the 4th lunar
calendar month
10 a.m.
9 p.m.
Inviting the deities (Field Trip Route 1)
Consecration ritual
The 6th day of the 4th lunar
calendar month
11 p.m.
Starting the jiao
The 7th day of the 4th lunar
calendar month
noon
Running the afternoon offering (Field Trip Route 2)
The 7th day of the 4th lunar
calendar month
2:30 p.m.
Lion dance, opening the eyes of the unicorn and
grand opening cocktail party
Feeding the water ghost
Inviting the deities
Show: Worshipping the deities by playing the
Chaozhou percussions.
From 6:30 p.m. to 7 p.m.
8 p.m.
8:30 p.m.
The 8th day of the 4th lunar
calendar month
9 a.m.
10:30 a.m.
2 p.m.
6 – 12:30 p.m.
midnight
The 9th day of the 4th lunar
calendar month
9 a.m
2 p.m.
Thanking the deities and sending off the flower boat
Show
The first composite-scene parade, and the setting
free of living animals (Field Trip Route 3)
Great offering to the wandering spirits and thanking
the deities
Race of snatching buns on the bun towers, the
breaking of the fast
Distribution of the buns
The second composite-scene parade for sending the
deities back to the temples.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 213
The ritual of establishing the jiao: Day 1 (The 6th day of the 4th lunar calendar month)
(Refer to photos No. 4.1-4.8)
Erecting the bamboo poles: Erecting nine bamboo poles before the jiao begins to confirm the coverage of
the festival venue. These bamboo poles also have the purpose of assembling the wandering spirits from all
directions to the festival venue to receive offerings and perform religious purpose.
4.1
A bamboo pole with streamer erected in front of the Pak
Tai Temple.
Inviting the deities (Refer to the photos in Route 1)
After the ritual of inviting the deities, all deities are assembled at the deities’ altar.
In the evening, the ritual of distributing incense for the sake of purifying is performed in the area marked
by the bamboo poles. The parade is led by the Taoist ritual masters and followed by their child disciples
and festival helpers who carry a large quantity of burning incense and parade through the streets. They
distribute some of the incense to the local residents and plug some at the road junctions. Residents take the
burning incense home and plug them outside their homes so as to ward off plagues. At the same time, the
Earth Gods within the coverage of the festival venue are invited to the deities’ altar.
214 Learning and Teaching Resource Pack for Secondary History Curriculum
4.2 Lighting a large chunk of incense before the ritual and distributing the incense to local residents
during the ritual.
4.3 Making the way by clashing the gongs, three Taoist ritual masters go to the locations where poles
are erected for worshipping
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 215
Dedication ceremony
4.4 At dusk, the Taoist ritual masters conduct the altar purifying and consecration ritual.
4.5
The chairman and his fellow colleagues pray to the deities on behalf of the Cheung Chau
residents
216 Learning and Teaching Resource Pack for Secondary History Curriculum
4.6 A Taoist ritual master performs the consecration ritual of various deities with a cinnabar brush.
4.7 The Taoist ritual masters perform the consecration ritual at the deities’ altar.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 217
Opening the altar
4.8
The altar opening ritual is held at midnight, signifying the official beginning of the jiao
festival.
218 Learning and Teaching Resource Pack for Secondary History Curriculum
The day of the jiao proper (Day 2 / The 7th day of the 4th lunar calendar month)
(Refer to photos No. 4.9-4.10)
4.9 In front of the bamboo poles erected in the I’Tsz, the Taoist ritual masters and representatives of the
local residents present the vegetarian offering to the guardian spirits, thus giving rise to the name
“worshipping the poles”. Afterwards, the Taoist ritual masters return to the jiao altar to conduct the
morning offering ritual and, subsequently, the ritual of repentance.
Running the noon offering
4.10
About noon time, the noon offering ritual is conducted to replace the noon offering of that day. In
front of the opera stage, 5 tables representing the five elements (gold, wood, water, fire and earth)
are laid out. Five Taoist ritual masters carry big bags of sacrificial offerings presented by local
residents and move between the five tables, signifying the presentation of the offerings to the
deities of the five elements. Afterwards, they go to the bun towers, the shed for the three great
deities, the Taoist altar, the deities’ altar and the Pak Tai Temple for more rituals.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 219
Evening: Feeding the Water Ghost and inviting the deities (Refer to photos No. 4.11-4.12)
Marine safety is important to Cheung Chau, which is a fishing community. Therefore, the ritual of feeding
the Water Ghost on Day 2 (i.e. the 7th day of the 4th lunar calendar month) evening is aimed at solving the
needs of the local residents. The Taoist ritual masters take a boat which sails around the Cheung Chau Wan,
read prayers to drive off the souls of the shipwreck victims, throw sacrificial offerings into the sea to
relieve the victims’ souls from suffering. At the same time of the Water Ghost feeding ritual, the ritual of
inviting the deities goes on in the jiao shed to present sacrificial offering to the Jade Emperor and various
deities.
4.11 Feeding the Water Ghost
4.12 Inviting the holy descent of the deities
220 Learning and Teaching Resource Pack for Secondary History Curriculum
Day 3 (i.e. the 8th day of the 4th lunar calendar month) morning and afternoon – the rituals
of sending off the flower boat, handing out talismans and setting free living animals
(Refer to photos 4.13-4.18)
Sending off the flower boat
The ritual of sending off the flower boat is performed in the morning. The Taoist ritual masters order the
paper-made deity messenger to send off to the sea the flower boat containing all unclean and evil things
and the duck representing misfortune. This signifies a farewell to uncleanness and misfortune.
4.13 The ritual of sending off the flower boat
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 221
4.14
A local resident carrying a flower boat containing all unclean and evil things to be sent off to
the sea.
4.15 The unclean and evil things are driven off by boat.
222 Learning and Teaching Resource Pack for Secondary History Curriculum
Handing out talismans
4.16 The Taoist ritual masters paint the talismans with the blood of a rooster and distribute them to
local residents who would then take them home to stick in front of the main door and the
kitchen, or bring them on the body, to ensure safety.
4.17
The ritual of setting free living animals is performed to help participants of the Jiao Festival to
accumulate spiritual merit. The ritual is performed at the shore of the Praya Road. The Taoist
ritual masters perform this ritual in the capacity of Buddhist disciples.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 223
4.18
Fish and crabs for the ritual of setting free living
animals.
The first composite-scene parade (Procession of the deities)
4.19
Inviting the deities on the deities’ altar to the sedan chairs. Pak Tai of Tai Ping Shan Street takes the
lead and is followed by the deities of the 8 temples on the island and Pak Tai of Pak She Street Pak
Tai Temple in the rear. All street committees and local community organizations form a big
procession team under the leadership of the Taoist ritual master. They parade in the festival area
and satisfy the wandering spirits so as to relieve the threat of epidemics.
224 Learning and Teaching Resource Pack for Secondary History Curriculum
Great offering to the wandering spirits
4.20
The ritual of great offering to the wandering spirits is performed in the evening. The Ghost King,
who is said to keep all wandering spirits under surveillance, is set on the open ground facing the
temporary stage for this particular ritual. 36 sets of vegetarian food for sacrificial offering are laid
and presented by the Taoist ritual masters on behalf of the residents to the wandering spirits. The
Taoist ritual masters also use their power to drive them off. After the ritual, the Ghost King is burnt
and sent away. The objective of the Cheung Chau Jiao Festival is to ward off the threat of plague
and epidemics, distribute clothes and food to the spirits and drive them off. Therefore, the great
offering to the wandering spirits is the climax of the annual jiao rituals. Together with this climax
comes the local residents’ scrambling race for the offerings, the most important of which would be
the buns on the three great bun towers. However, ever since the collapse of the bun tower in 1978,
the government has banned the race of snatching buns on the bun towers. The Jiao Organizing
Committee could only send festival helpers to take down the buns from the bun towers after the
great offering to the wandering spirits and distribute them to the residents early next morning.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Guideline on Field Trips 225
Thanking the deities and making wishes
4.21
At midnight, all paper effigies of deities are burned. Then, the residents on the island bring their
offerings to the deities’ shed to pray for good fortune and make wishes.
The second composite-scene parade (Returning the deities to their temples)
4.22
In the afternoon of Day 4 (i.e. the 9th day of the 4th lunar calendar month), the second
composite-scene parade takes place. During its course, the deities are brought back to their own
temples. At midnight on the same day, Hailufeng white-characters operas are put on show. Upon
the end of these devotional Cantonese operas, the Cheung Chao Jiao Festival also comes to an
end.
226 Learning and Teaching Resource Pack for Secondary History Curriculum