Contents
Introduction
164
I. Guideline on Field Trips
166
II. Exemplars of Learning and Teaching Activities
228
1. Classroom Learning Activities
233
2. Field Trips
260
3. Extended Learning Tasks
282
III. Teachers’ References
1. Safeguarding Intangible Cultural Heritage: The Hong Kong
Experience (Mr.CHAU Hing-wah)
306
2. Examining the Direction of Preserving Hong Kong’s Intangible
Cultural Heritage: A Case of Hong Kong Cheung Chau’s Jiao
Festival (Prof. CHOI Chi-cheung & Dr. MA Muk-chi)
314
3. Subtitles of the Video Clip Cheung Chau Jiao Festival
316
Introduction
Local Heritage Studies is part of the History curriculum in secondary schools in Hong Kong. In
order to enhance teachers’ understanding of Local Heritage Studies, the Education Bureau (EDB) and
the Hong Kong Heritage Museum jointly organized two professional development programmes for
History teachers in 2012 and 2013, comprising lectures and field trips, took the Cheung Chau Jiao
Festival as an example to illustrate the categories and characteristics of intangible cultural heritage. In
order to further support History teachers in teaching the above topic, the EDB published the learning and
teaching resource pack: Case Study of Local Heritage Studies – Cheung Chau Jiao Festival . It consists
of a guideline on field trips designed by Dr. MA Muk-chi of the Department of History, CUHK, as well
as exemplars of learning and teaching strategies designed by experienced teachers. These exemplars are
stratified into elementary, intermediate and advanced levels of difficulty. They are aimed at facilitating
students’ understanding of concepts such as ‘cultural heritage’ and ‘intangible cultural heritage’. We
suggest that teachers can make adaptation to these exemplars in their own school contexts. The content
of this resource pack has been uploaded to the following website of the EDB for teachers’ reference and
adaptation:
http://www.edb.gov.hk/en/curriculum-development/kla/pshe/references-and-resources/history/index.html
We are grateful to the Hong Kong Heritage Museum for the provision of the video clip on the
Cheung Chau Jiao Festival and the consent to insert voice-overs and subtitles in both Chinese and
English for different school users’ convenience. We are also thankful to three scholars and experts for
their genuine support and consent to include their feature articles in this resource pack for extended
reading. Last but not least, we extend our special thanks to Dr. MA for serving as consultant for this
resource pack and providing his professional comments on its design and contents.
The copyright of this resource pack belongs to the EDB of the HKSAR Government. The Hong
Kong Heritage Museum is the copyright holder of the video clip on the Cheung Chau Jiao Festival.
Schools and organizations can extract suitable portions of these materials for teaching and research
purposes. No part of this book may be reproduced in any form for commercial purposes. We are grateful
to publishers/organizations for permission to include materials from their publications in this resource
pack. Every effort has been made to trace copyright but in the event of any accidental infringement,
copyright owners are invited to contact us so that we can come to a suitable arrangement.
If you have any comments and suggestions on this resource pack, please send to:
Chief Curriculum Development Officer (PSHE)
Curriculum Development Institute
Education Bureau
Room 1319, 13/F, Wu Chung House
213 Queen’s Road East
Wanchai, Hong Kong
Fax: 2573 5299 / 2575 4318
E-mail: ccdopshe@edb.gov.hk
164 Learning and Teaching Resource Pack for Secondary History Curriculum
165
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
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
227
II. Exemplars of Learning and Teaching Activities
This learning and teaching resource pack consists of three exemplars on Cheung Chau Jiao
(Dajiao)Festival. Each of the exemplars has a different level of difficulty and it aligns with the junior
and secondary level History Curriculum. Teachers can make adaptation to these exemplars to cater for the
diverse needs and interests of their students.
I. Classroom activities (A1-3/B1-3/C1-3)
II. Field trips (A4-6/B4-6/C4-6)
III. Extended learning (A7-9/B7-9/C7-9)
Learning objectives:
Knowledge
To understand the definition of “intangible cultural heritage”
To know the origin, development and social value and function of Cheung Chau Jiao
Festival
To strengthen students’ historical concepts of continuity and change and cause-and-effect
Skills
relationship
To enhance students’ ability of comprehension, critical thinking and creativity
Attitude
To nurture students’ concern and respect of cultural preservation of “intangible cultural
heritage”.
To arouse and develop students’ interest in community and local culture.
Design of activities:
A1-9
Elementary tasks
B1-9
Intermediate tasks
C1-9
Advanced tasks
228 Learning and Teaching Resource Pack for Secondary History Curriculum
Examples of selection of learning activities:
School
Level
Class
Selection of tasks
Reasons
A
S.2 (4 classes in
total)
B-D
A1-3
Due to the large class size, only
classroom activities are selected.
Class A (with
higher ability)
A
A2, 3, B1
To let students with higher ability
to attempt intermediate tasks
B
S.3 (with greater
learner diversity)
C
A2/B2, A7
Before watching the video,
students can choose to finish either
Task A2 or B2, and then finish the
extended learning Task A7.
C
S.4 (with greater
learner diversity)
1 group
B2, C2, C4-7
Due to the existence of learner
diversity in the group, it is
recommended to start an advanced
task only after an intermediate task.
For Task C5, teachers can assign
appropriate interviewees to
students according to their levels of
ability.
Brief introduction to various learning activities:
I.
Classroom activities
(suitable for pre-trip preparation or schools which have no arrangement of field trips)
II.
A1 Brain-storming
B1 Data-based questions
C1 Video and source analysis
A2 Video and questions
B2 Video and sequencing
C2 Group discussion
A3 Matching
B3 Classification
C3 Debate
Field Trip (to be conducted during the Jiao period)
A4 Warm-up activity
B4 Warm-up activity
C4 Warm-up activity
A5 Interview
B5 Interview
C5 Interview
A6 Report
B6 Report
C6 Report
III. Extended learning (To be conducted after I or/and II)
A7 Concept map
B7 Choice of souvenir
C7 Evaluation of video
A8 Name of the festival
B8 Symbol of the festival
C8 Design of pamphlet
A9 Introduction of the
B9 Design of souvenir
C9 Proposal of cultural heritage
festival
conservation
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
229
Teaching Tips
Teachers are advised to let students understand the definition of intangible cultural heritage before starting
with the tasks.
Do you know?
What is “intangible cultural heritage”?
According to the Convention for the Safeguarding of the Intangible Cultural Heritage 2003 adopted in
Paris on 17 October 2003:
For the purposes of this Convention,
1. The “intangible cultural heritage” means the practices, representations, expressions, knowledge,
skills – as well as the instruments, objects, artefacts and cultural spaces associated therewith –
that communities, groups and, in some cases, individuals recognize as part of their cultural
heritage. This intangible cultural heritage, transmitted from generation to generation, is
constantly recreated by communities and groups in response to their environment, their
interaction with nature and their history, and provides them with a sense of identity and
continuity, thus promoting respect for cultural diversity and human creativity. For the purposes
of this Convention, consideration will be given solely to such intangible cultural heritage as is
compatible with existing international human rights instruments, as well as with the
requirements of mutual respect among communities, groups and individuals, and of sustainable
development.
2. The “intangible cultural heritage”, as defined in paragraph 1 above, is manifested inter alia in
the following domains:
(a)
oral traditions and expressions, including language as a vehicle of the intangible cultural
heritage;
(b)
performing arts;
(c)
social practices, rituals and festive events;
(d)
knowledge and practices concerning nature and the universe;
(e)
traditional craftsmanship.
Source: ‘Convention for the Safeguarding of the Intangible Cultural Heritage – UNESCO website’
(http://unesdoc.unesco.org/images/0013/001325/132540e.pdf) (Last access: 13 December 2013).
230 Learning and Teaching Resource Pack for Secondary History Curriculum
To Know More:
The General Conference of the United Nations Educational, Scientific and Cultural Organization adopted
the Convention for the Safeguarding of the Intangible Cultural Heritage on 17 October 2003. It generated
the Representative List of the Intangible Cultural Heritage of Humanity and required all member states to
submit lists of cultural heritage elements to be inscribed on the Representative List. The Ministry of
Culture of the People’s Republic of China is in charge of all work related to the application for inscriptions
on the Representative List according to the criteria prescribed by the UNESCO. Since 2008, the Ministry
of Culture has successfully inscribed numerous cultural heritage items on the Representative List, e.g.
Kunqi opera, Uyghur Muqam of Xinjiang and folksongs of the Mongolians (co-declared with Mongolia).
Apart from the above, since 2005, the State Council of the People’s Republic of China has also set rules
for the declaration and assessment of national level intangible cultural heritage according to Article 22 of
the Constitution of the People’s Republic of China, so as to accelerate the nation-wide rescue, preservation
and continuity of intangible cultural heritage. In the last few years, the State Council enlisted the
intangible cultural heritage of all provinces, municipalities and special regions into the National List of
Intangible Cultural Heritage. These are classified into ten types as follows:
1.
folk literature
6.
traditional sports, recreation and acrobatics
2.
traditional music
7.
traditional art
3.
traditional dance
8.
traditional skills
4.
traditional drama
9.
traditional medicine
5.
opera
10. folk custom
Source: Adapted from ‘The Intangible Cultural Heritage in China website’
(http://www.ihchina.cn/main.jsp) (Last access 13 December 2013).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
231
Thinking point:
Which categories does the Cheung Chau Jiao Festival of Hong Kong belong to, according to the criteria
set by the UNESCO and the Intangible Cultural Heritage in China respectively?
˙ According to the standards set by the UNESCO: social practices, rituals and festive events
˙ According to the national level criteria: folk customs (folk religious beliefs)
Extended reading:
Students may browse the following websites to know more about the UNESCO and the Intangible
Cultural Heritage in China:
「 申 報 工 作 需 要 注 意 的 幾 個 問 題
中 國 非 物 質 文 化 遺 產 網 網 站 」
(http://www.ihchina.cn/inc/detail.jsp?info_id=1206) (最後瀏覽日期：2013 年 9 月 30 日).
「國家級非物質文化遺產代表作申報評定暫行辦法
中國非物質文化遺產網網站」
(http://www.ihchina.cn/inc/detail.jsp?info_id=88), (最後瀏覽日期：2013 年 9 月 30 日).
「國家名錄
中國非物質文化遺產網網站」(http://www.ihchina.cn/inc/guojiaminglu.jsp), (最後瀏覽日
期：2013 年 9 月 30 日).
232 Learning and Teaching Resource Pack for Secondary History Curriculum
I. Classroom activities
Tasks
Learning objectives
A
Elementary
level
1. To know Cheung Chau
2. To know the origin of the
Cheung Chau Jiao
Festival
3. To know the criteria and
classification of
intangible cultural
heritage
B
1. To know and understand
Intermediate
the features of the
level
Cheung Chau Jiao
Festival
2. To nurture students’ care
and respect for the
cultural continuity of
intangible cultural
heritage
C
Advanced
level
I.
Names of activity
Inquiry questions
1. Brain-storming
2. Video and questions
3. Matching
What do people say
about the origin of the
Cheung Chau Jiao
Festival?
1. Data-based questions
2. Video and sequencing
3. Classification
What are the features of
the Cheung Chau Jiao
Festival of Hong Kong?
1. To know and understand 1.
the origin, development 2.
and social value and
3.
functions of the Cheung
Chau Jiao Festival
2. To nurture students’ care
and respect for the
continuity and
conservation of
intangible cultural
heritage
Video and source analysis What are the social
Group discussion
functions of the Cheung
Debate
Chau Jiao Festival?
Classroom activity
A Elementary task
Inquiry question: What do people say about
the origin of the Cheung Chau Jiao Festival ?
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
233
A1 Brain-storming: Use your imagination
Activity 1
Cheung Chau reminds you of ….
Cheung Chau may remind you of tourists, typical snacks, seafood, historical attractions (e.g. Cheung Po
Tsai Cave), etc. Indeed, this island retains a folk religious activity. Do you know its origins?
234 Learning and Teaching Resource Pack for Secondary History Curriculum
Activity 2
The Cheung Chau Jiao Festival reminds you of ….
The Cheung Chau Jiao Festival may remind you of the snatching of buns on the bun tower, composite
scene parade, etc. Indeed, there is a folk religious activity being enlisted as a national level intangible
cultural heritage behind this carnival. Do you know its features?
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
235
A2 Video and questions
Activity 1
After viewing the video show, finish the following table about the Cheung Chau Jiao Festival:
When
In the late 19th century
Where
Originated from the Tai Ping Shan Street on Hong Kong Island
Who
Hailufeng residents
Why
The Bubonic Plague broke out in Tai Ping Shan Street on Hong Kong Island and caused
many deaths. A jiao festival was organized in the Tai Ping Shan Street to relieve the
misfortune and disasters as well as drive off the spirits of the deceased.
How
Later, the residents transferred the whole religious activity to the Pak She Street of
Cheung Chau where the Hailufeng people also lived.
Which
According to existing information, the Huizhou-Chaozhou Prefecture Association,
organized by the Huizhou and Chaozhou people from the Guangdong province, is the
earliest clansmen association in Cheung Chau.
Teaching guidelines:
1. Play the video clip of this teaching kit – “Cheung Chau Jiao Festival” (02:43-03:17)
2. Refer to the following content of the video clip (related to the origin of and ethnic groups’
participation in the Cheung Chau Jiao Festival)
There are various legends regarding the origin of the Jiao Festival in Cheung Chau. Huizhou
people of the older generation recalled that the Jiao Festival of Cheung Chau originated in the Tai
Ping Shan Street on Hong Kong Island. In about the end of the 19th century, due to the bubonic
plague, residents on the Tai Ping Shan Street held the “Tai Ping Ching Chiu” rituals that centred
around Pak Tai in order to avert calamities and release dead souls from suffering. Later, they
moved the event to the Pak She Street of Cheung Chau, which was also inhabited by the Haifeng
and Lufeng people.
To Know More:
Do you know that there is another saying about it?
According to the Cheung Chau Jiao Festival Organizing Committee, there was once a plague on the
Cheung Chau Island in the middle of the Qing Dynasty, causing many deaths among the local residents.
Therefore, the Pak Tai Temple organized the Jiao Festival and called for a fasting period of three days,
thus bringing the plague to an end.
236 Learning and Teaching Resource Pack for Secondary History Curriculum
Activity 2
Write down the names of the ethnic groups after watching Video 2:
Name of ethnic
Major residing areas
groups in Cheung
Participating bodies of Cheung Chau
Jiao Festival nowadays
Chau
Haifeng and Lufeng
Pak She Street Committee,
people
Chung Hing Street Committee,
Huizhou people
Pak She Street & San Hing Street
Tai Sun Street Kai Fong Association,
etc.
Chaozhou people
Cantonese people
Tai Sun Street, Chung Hing Street,
Hing Lung Street
Tanka boat people
Cheung Chau Wan and Sai Wan
Teaching guideline:
Play the video clip “Cheung Chau Jiao Festival” (00:59-02:19).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
237
A3 Matching: Find out the “intangible cultural
heritage” of Cheung Chau Jiao Festival
Classify the following activities of the Cheung Chau Jiao Festival according to the definition and
classification criteria of “intangible cultural heritage”.
Unicorn dance
Colour
floats
Lucky buns
Composite-scene
parade
Paper effigy
Oral traditions and expressions
Performing arts
Social practices, rituals and festive events
Knowledge and practices concerning nature and the universe
Traditional craftsmanship
238 Learning and Teaching Resource Pack for Secondary History Curriculum
B
Intermediate task
Inquiry question: What are the features of the
Cheung Chau Jiao Festival of Hong Kong?
B1 Data-based questions: Celebration of
festival in Cheung Chau
Read the following source and answer the questions:
There are many traditional festivals in Hong Kong with unique local features and wonderful activities
in celebration of these festivals. The “Hong Kong Cultural Celebrations” organized by the Hong
Kong Tourism Board particularly highlights the Buddha’s Birthday and the Cheung Chau Jiao
festival. These two traditional festivals attract many tourists every year to come and join the series of
celebration activities, such as fancy car parade, firework show, unicorn and lion dance, devotional
Cantonese opera, praying for good fortune and traditional opera, etc. Blended with distinctive features
of Chinese and foreign cultures, these festivals are colourful and glamorous.
What is the relationship between the Buddha’s Birthday and the Cheung Chau Jiao Festival? On the
one hand, the Buddha’s Birthday, aka ‘Bathing the Buddha Festival’, was appointed by the HKSAR
Government as a general holiday in 1998 to elevate the influence of the Buddhist culture and Chinese
traditional festivals on local culture. On the other hand, the ‘jiao’ in the Cheung Chau Jiao festival
refers to the communication and worshipping activities between Buddhist/Taoist priests and spirits.
According to tradition, Cheung Chau residents decided on the exact period of the Jiao Festival by
prayers and casting kidney-shaped divination blocks. In 2001, the Cheung Chau Jiao Festival
Organizing Committee decided to celebrate the annual Jiao Festival composite-scene parade on the
Buddha’s Birthday to attract more tourists and Cheung Chau residents to take part in the festival.
Since then, the convention of holding the Cheung Chau Jiao Festival celebrations on the annual
Buddha’s Birthday has been established.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
239
Name of festival
Chinese New Year
Birthday of Che
Kung
Spring Lantern
Festival
Hung Shing
Festival
Ching Ming
Festival
Birthday of Tin
Hau
Cheung Chau
Jiao Festival
Buddha’s Birthday
(aka Bathing the
Buddha Festival)
Birthday of Tam
Kung
Day on lunar calendar
The 1st day of the
1st month
The 2nd day of the
1st month
The 15th day of the
1st month
The 13th day of the
2nd month
The 3rd month #
The 23 r d day of the
3rd month
From the 5 t h day to
the 9 t h day of the
4 t h month
The 8 t h day of the
4 t h month
The 8 t h day of the
4 t h month
Name of
Day on lunar
festival
calendar
Dragon Boat
Festival
Birthday of
Kwan Tai
Seven Sisters
Festival
Hungry
Ghost
Festival
Mid-Autumn
Festival
Monkey God
Festival
Birthday of
Confucius
The 5 t h day of the
5 t h month
The 24 t h day of
the 6 t h month
The 7 t h day of the
7 t h month
The 15 t h day of
the 7 t h month
Chung
Yeung
Festival
Winter Solstice
Festival
The 9 t h day of the
9 t h month
The 15 t h day of
the 8 t h month
The 16 t h day of
the 8 t h month
The 27 t h day of
the 8 t h month
The 11 t h month #
# W itho ut an y sp ecific d ate o n the lunar calend ar.
Reference: “Chinese Festivals – Hong Kong Tourism Board website’
(http://www.discoverhongkong.com/eng/see-do/events-festivals/chinese-festivals/index.jsp#ixzz24r2x
xjfY), (Last access 16 December 2013).
Suggested answer provided
1. Identify the major difference between the name of the Cheung Chau Jiao Festival and other festivals,
as shown in the source. Why is there such a difference?
The source shows that most of the local festivals are called “festivals” or “birthdays”, while the one in
Cheung Chau is named as a “jiao”. This is because a “jiao” is the communication and worshipping
activities between Buddhist/Taoist priests and spirits. Besides, its name is identified with Cheung
Chau, i.e. the name of a locality, so as to differentiate it from the jiao festivals of other localities.
240 Learning and Teaching Resource Pack for Secondary History Curriculum
2. When is the designated date for the Cheung Chau Jiao Festival, as shown in the source? Why is this
period selected?
The Cheung Chau Jiao Festival is annually organized from the 5th day to the 9th day of the 4th month of
the lunar calendar. From 2001 onwards, the Jiao Organizing Committee holds the composite-scene
parade on the Buddha’s Birthday to attract more tourists and Cheung Chau residents to take part in it.
3. According to your own knowledge, which festival is the most similar to the Cheung Chau Jiao
Festival in terms of its nature? What are their common characteristics?
The Hungry Ghost Festival is the most similar to the Cheung Chau Jiao Festival in terms of its nature.
Both are long established folk religious activities carried on by many generations. Both reflect local
communities’ longing for peace in their surrounding and the resolution of disasters through
worshipping and community cleansing. Both festivals have devotional Cantonese operas performed on
stage and the distribution of lucky buns / lucky rice, etc. Both festivals are inscribed onto the National
List of Intangible Cultural Heritage.
4. The following text is the promotion material of the Cheung Chau Jiao Festival. Which
element(s)/programme(s) of the festival do you think have already undergone changes? Explain your
answer.
The Cheung Chau Jiao Festival is a unique religious festival of Hong Kong. It is filled with jolly
atmosphere and local features. Over a whole week of celebrations, the residents of the island take
part actively in it. The voices of the unicorn and lion dances are widely heard. Some people
demonstrate to tourists the climbing of the bun tower. There are also Cantonese opera shows and
stall games. The race of snatching buns on the bun towers and the composite-scene parade on the
last two days of the festival are the must-see attractions of the Cheung Chau Jiao Festival. The
festival is now inscribed on to the third National List of Intangible Cultural Heritage.
The source shows that the religious rituals of the Cheung Chau Jiao festival may not be its most
widely known activities. In contrast, the race of snatching buns on the bun towers and the
composite-scene parade have received newly adapted elements, e.g. the bun tower climbing
demonstration and stall games, to raise its jolly atmosphere and turn the original traditional festival
with religious features into a large carnival blended with Chinese and foreign cultural elements.
Adapted from: ‘Cheung Chau Bun Festival – Hong Kong Tourism Board website’
(http://www.discoverhongkong.com/eng/see-do/events-festivals/highlight-events/cultural-celebrations.jsp#
ixzz2BvK2S4iH), (Last access 16 December 2013).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
241
B2 Video and sequencing
1. Sequencing the photos: Based on the narration in the video (03:08-05:53), put the following rituals
and customs of the Cheung Chau Jiao Festival in correct order.
Teaching guideline:
Play the video clip “Cheung Chau Jiao Festival” (03:18-06:04).
(a) The 1st composite-scene parade
(Procession of deities)
(b) Race of snatching buns on the bun
towers
(c) Feeding the water ghosts
(d) Running the noon offering to the deities
(e) Great offering
(f) Inviting the deities
(g) Sending off the flower boat
(h) Dedication ceremony
(i) The 2nd composite-scene parade
(Returning the deities to temples)
The Cheung Chau Jiao Festival lasts for 5 days. Put the rituals and customs shown above in correct order.
1. (f)
2. (h)
3. (d) 4. (c)
5. (g)
6. (a) 7. (e)
8. (b)
9. (i)
2. Which religious ritual demonstrates the features of the Cheung Chau Jiao Festival in the best way?
Why?
Free answers.
242 Learning and Teaching Resource Pack for Secondary History Curriculum
B3 Classification: The search for “intangible cultural
heritage” in Hong Kong
1. Based on Sources B1 and B2 and with reference to the definition and classification criteria of
“intangible cultural heritage”, fill in the examples related to the Cheung Chau Jiao Festival.
Definition and classification of intangible
cultural heritage
Relevant examples from the Cheung Chau Jiao Festival
1 Oral traditions and expressions
Legends about the origin of the Cheung Chau Jiao Festival
2 Performing acts
Lion and unicorn dance, devotional Cantonese operas
3 Social practices, rituals and festive events
Various rituals of the Cheung Chau Jiao Festival
4 Knowledge and practices concerning nature and
the universe
Not applicable
5 Traditional craftsmanship
Bun towers, composite-scene parade, paper effigy
Read the following photos in details, and fill a number representing the critieria of intangible cultural
heritage.
e.g. Unicorn dance
The production of
Chinese medicine
Hitting the villains
Making preserved
meat
Puppet show
Kakka dialect
Turtle jelly
Lighting the
lanterns
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
243
C
Advanced task
Inquiry question: What are the social
functions of the Cheung Chau Jiao Festival?
C1 Video and source analysis
The religious meaning of the Cheung Chau Jiao Festival
Teaching guideline:
Play the video clip “Cheung Chau Jiao Festival” (02:43-03:17)
Suggested answer provided
Activity 1
1. With reference to the video clip, point out one way of saying about the origin of the Cheung Chau Jiao
Festival.
According to the Huizhou people of older generations, the Cheung Chau Jiao Festival originated from
the Tai Ping Shan Street of the Hong Kong Island. By the end of the 19th century, the residents there
attempted at eradicating the Bubonic Plague, relieving the plague disasters and driving away the spirits
of the deceased by organizing jiao rituals centering on Pak Tai. Later on, they transferred these rituals
to the Pak She Street in Cheung Chau where many Haifeng and Lufeng people also resided.
2. Consider another saying about the origin of the festival as shown below. Identify the similarity
between these two sayings.
The origin of the Bun Festival can be dated back to the middle period of Qing Dynasty. At that time
Cheung Chau was attacked by a fierce storm. And followed by an epidemic that claimed a lot of
lives, …. Terrified by such a disaster and also in a great panic, they sought for [divine instructions
from] Xuantian Shangdi who instructed the locals to invite Taoist priests to hold ceremonies to
pacify the ghosts, ensured that such a disaster would not happen again.
Source: 《會景巡遊特刊》
，香港長洲太平清醮值理會，2012 年。
Both sayings point to the occurrence of a plague, in which the residents prayed to Pak Tai for relieving
the plague disasters, driving off the spirits of the deceased and bringing peace to Cheung Chau. Since
the rituals demanded huge manpower and resources, it gradually turned into a large scale religious
activity and created a sense of unity in the community.
244 Learning and Teaching Resource Pack for Secondary History Curriculum
Activity 2
After watching the video clip about the jiao rituals of the Cheung Chau Jiao Festival, answer the following
questions:
Suggested answer provided
1. What is the main objective of the Cheung Chau Jiao Festival? Explain your answer.
To pray for peace and protection of the territory, and to make good wishes and give thanks to the
deities.
2. Which rituals need the concerted participation of the local residents?
The construction of the deities’ altar, inviting the deities, performing the devotional Cantonese operas,
feeding the water ghosts, the race of snatching buns on the bun tower, and the composite-scene
parades.
3. What risks does the Cheung Chau Jiao Festival face, as pointed out by Prof. Choi Chi-cheung in the
video clip?
People regard merely its present circumstances, but know nothing about its process of change over
time.
4. Following from the last question, How should the Cheung Chau Jiao Festival be preserved as
expressed by Prof. Choi Chi-cheung?
By recording the whole process of change through different forms of media, words and images.
Teaching guideline:
Play the video clip “Cheung Chau Jiao Festival” (03:18-06:04).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
245
Activity 3
Read Sources 1 and 2 below and fill in the table.
Source 1: The religious meaning of the Cheung Chau Jiao Festival
The concept of cosmic regeneration is inseparable from such periodicity. A basic notion in the religious
concepts of rural people is the cyclical process between the community’s cleanness and uncleanness. In
other words, rural people regard their own community as one being clean originally yet experiencing the
process of being contaminated. Since the uncleanness can bring harm, diseases and afflictions to the
community and every individual member, the essential issue of how to maintain the cleanness of the
community arises. The community itself cannot by itself return to the original circumstances of
cleanness, so it must undergo a series of rituals. Such a concept of cosmic regeneration is clearly
reflected in the activities of Dajiao. The major principle of Dajiao is to firstly make the surrounding
environment of daily life clean and tidy. Therefore, village communities like Lam Tsuen need to enclose
the mountain to stop villagers from chopping firewood before Dajiao. Besides, the villagers need to fast
during the Dajiao period to cleanse their own bodies. Afterwards, the villagers have to cleanse the
community through intermediaries, i.e. Taoist ritual masters, who are also commonly known as Na mo.
These ritual masters lead the villagers in practicing certain rituals of cleansing and tidying up the
community. Apart from the cleansing, villagers also ought to do something good and merciful, e.g.
setting free some captured animals and feeding hungry ghosts. Besides giving some gifts to the living
creatures in the community, villagers shall do the same to supernatural beings. Therefore, they must
redeem the wandering ghosts, feed them and save them from the purgatory. The final ritual of Dajiao is
to collect substances representing uncleanness, e.g. beans (Ma-dou) and charcoal, from all households
and dispose of these somewhere outside the community. Only after these rituals are individuals and the
whole community restored to the original conditions of cleanness.
Source: 蔡志祥、廖迪生：
〈傳統社會生活〉
，收於廖迪生、張兆和、蔡志祥編：
《香港歷史、文化與
社會 (一) 教與學篇》
，
（香港：香港科技大學華南研究中心，2001 年），頁 83。
246 Learning and Teaching Resource Pack for Secondary History Curriculum
Source 2: The schedule of events of the Cheung Chau Jiao Festival
Schedule of Events of Cheung Chau Jiao Festival
25-29 April 2012 (the 5th-9th days of the 4th lunar
calendar month)
The jiao period
25 April 2012 (11:00 p.m.) – 28 April 2012 (12:00
midnight)
Fasting
(from 11:00 p.m. - 1:00 a.m. of the 6th day of the 4th
lunar calendar month, to 12:00 midnight of the 8th
day of the 4th lunar calendar month)
25 April – 2 May 2012
(from the 5th day of the 4th lunar calendar month to
the 12th day of the 4th lunar calendar month)
Performing devotional Cantonese opera to
thank the deities:
Putting on show 3 days and 4 nights of
Cantonese operas and 4 nights of Hailufeng
operas
10:00
Inviting the deities – The Taoist ritual masters
visit various temples and invite the deities to
the festival venue in front of the Pak Tai
Temple
21:00
Consecration ceremony – The Taoist ritual
masters read classics and prayers to consecrate
the deities’ statues and kick off the climax of
the Jiao Festival
25 April 2012 (The 6th day of the 4th
lunar calendar month) from 11:00
p.m. to 1:00a.m.
23:00
Starting the Jiao Festival
27 April 2012 (The 7th day of the 4th
lunar calendar month)
12:00
Running the noon offerings to please the deities
(Venue: The Pak Tai Temple Playground)
14:30-15:15
Opening the eyes of the lions and unicorns and
the ribbon-cutting cocktail reception
18:30-19:00
Feeding the water ghosts
20:00
Taoist wish-making rituals
20:30
Shows: Chaozhou people perform the “big
gongs and drums” to please the deities
25 April 2012 (the 5th day of the 4th
lunar calendar month)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
247
28 April 2012 (The 9th day of the
lunar calendar month)
29 April 2012 (the 9th day of the 4th
lunar calendar month)
9:00
Giving thanks to the bamboo poles
10:30
Shows performed by the qilins of Tai Ping Shan
and Kung Fu performance.
11:30
Qilin dance performed by Huizhou and
Hailufeng people.
14:00
The 1st composite-scene parade (i.e procession
of deities for about 2 hours)
18:00-23:30
Great offering to the wandering spirits (i.e.
feeding and driving off wandering spirits,
farewell to the Ghost King and the Mountain
God) as well as thanking the deities.
midnight
The race of snatching buns on the bun tower,
breaking the fast (Worshippers start proceeding
to the deities’ altar to worship and thank the
deities.)
9:00
Handing out the buns on the bun towers
14:00
The 2nd composite-scene parade (i.e. returning
the deities back to their temples)
Source: 長洲值理會醮刋 2012
Location of the festival area and the three great bun towers: The Pak Tai Temple Playground
The VIPs’ stand of the composite-scene parade: Fung Shui Lane, Chung Hing Street, Cheung Chau
248 Learning and Teaching Resource Pack for Secondary History Curriculum
According to Sources 1 and 2 and using your own knowledge, fill in the table below to explain how the
Cheung Chau Jiao Festival illustrates the concept of cosmic regeneration:
Concept of cosmic
regeneration
Periodic events
Schedule of events of Cheung Chau
Jiao Festival
Holding a five-day period of jiao
activities in the 4th lunar calendar month
every year.
Objectives
To cleanse the community regularly
because the community experiences
the process of being contaminated
Running a series of Jiao activities include:
religious rituals
1. (The 5th day of the 4th lunar calendar
month) Inviting all deities of the
island to the festival area; keeping
them open for public worship after
the dedication ceremony; Taoist
ritual masters performing
worshipping rituals.
2. The 6th day of the 4th lunar calendar
month) Running the noon offering
and presenting gifts to deities of the
five directions.
3. The 7th day of the 4th lunar calendar
month) feeding the water ghosts;
(The 8th day of the 4th lunar calendar
month) sending off the flower boat
and great offering.
4. (The 9th day of the 4th lunar calendar
month) race of snatching buns on the
bun towers and the 2nd
composite-scene parade, signifying
the completion of all attainments and
ultimate celebration.
1. To prepare everyone’s body, mind
and soul
2. To pray heartily for repentance and
forgiveness of all sins
3. To feed and worship the hungry
ghosts
4. To pray for peace and protection of
the territory.
Intermediaries
Throughout almost the whole jiao
period, Taoist ritual masters lead the
rural people in practicing religious
rituals, e.g. performing cleansing rituals
in the jiao area and disposing of unclean
matters offshore in Sai Wan.
To cleanse the community and seek
redemption from sins committed in
the past; to purify people and places
that are contaminated; to remove
uncleanness and renew life in the
cyclical clean-unclean process.
Participation of
individuals and
community
1. Individuals: Fast from the 6th to the
8th day of the 4th lunar calendar
month, and take part in relevant
religious rituals during the jiao
period.
2. Community: The preparatory work
before the jiao period, namely the
construction of the deities’ altar,
setting the paper effigy of the three
deities, arranging the devotional
Cantonese operas and
composite-scene parade, etc., require
the participation and support of the
residents.
To maintain the local residents’ health
in body and soul; to free residents
from the troubles made by wandering
spirits and to lessen disasters and
calamities.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
249
C2 Group discussion: Functions of the Cheung
Chau Jiao Festival to the local community
Activity 1
Watch the video clip about the spatial distribution of ethnic groups in Cheung Chau and folk performing
arts, and then read the map in Source 1 afterwards. After this, fill in the names of the relevant ethnic
groups.
Teaching guideline:
Play the video clip “Cheung Chau Jiao Festival” (00:59-02:19)
Source 1: The spatial distribution of the ethnic groups in Cheung Chau
Concentrated inhabited areas
A
B
C
Name(s) of street/locality
Pak She Street, San Hing Street
Tai Sun Street, Chung Hing Street,
Hing Lung Street
Cheung Chau Wan and Sai Wan
250 Learning and Teaching Resource Pack for Secondary History Curriculum
Name(s) of ethnic group
Hailufeng people, Huizhou people and
Chaozhou people
Cantonese people
Tanka boat people
Activity 2
Read Sources 1 and 2 and take the content of the video clip for reference. Students may form groups of
four to discuss whether the Cheung Chau Jiao Festival can strengthen the cohesion of the ethnic groups
living in Cheung Chau.
Points to note:
1. Pay attention to the heading of each paragraph.
2. There should be supportive and counter arguments and their corresponding evidence in every
paragraph.
3. Fill the corresponding evidence into the table.
4. Prepare the arguments and evidence for an oral presentation.
Source 2: Strengthening the cohesion of the ethnic groups
(Pak Tai Temple)
All three ethnic groups, Huizhou, Chaozhou, and Cantonese, have agreed that the temple be equally
divided among them. The three operas dedicated to Beidi (shengong xi) each year are presented one
each by the three ethnic groups. Beidi thus became not only the patron deity of the Huizhou and
Chaozhou people, but also that of the Cantonese people. No one, except perhaps the boat people,
would argue about Beidi’s position as Cheung Chau’s patron deity. (From Page 109)
(Different levels of participation between the Jiao Festival Organizing Committee members
and various ethnic groups)
The organization that administers the festival is the Cheung Chau Huizhou and Chaozhou
Prefectures Association. … The [membership of] organizing committee … was … strictly limited to
members of the Prefectures Association before 1960s. … The Hailufeng people provide the most
important religious, financial, managerial, and recreational support for the festival. (From Pages
112-113)
In the Cheung Chau Jiao Festival … besides the Huizhou and Chaozhou groups, a small number of
Cantonese-speaking local leaders are also members of the organizing committee of the festival.
However, they are not eligible to serve as chairmen of the festival. … The Cantonese people
participate in the festival only on an individual basis. … Another ethnic group on the island is the
Tanka boat people, whose participation in the festival is limited. Administratively, the two
boat-people leaders who are members of the rural committee have not served on the organizing
committees of the festival. Economically, their residences fall beyond the boundaries of the area
visited by committee members to collect donations, for which reason they are neither purified nor
blessed by the activities of the festival. (From Pages 113-114)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
251
(The geographical extent of cleansing and blessing)
The Cheung Chau festival, overall, is well regarded as belonging to all islanders, but some portions
of the festival are restricted to only a portion of the Cheung Chau population. … The
Huizhou-Chaozhou territory at the jiao includes Pak She and San Hing Streets, where the ancestors
of the Huizhou people first settled. These two streets, including San Hing Back Street, are actually
and symbolically washed before the festival is inaugurated. … The festival area of the island is
marked by nine long bamboo poles (fan), erected a day before the festival is officially
inaugurated. … The festival area that is cleansed and blessed does not include the whole island. … It
covers … not the Sai Wan area where the Tanka boat people are concentrated, the southern hill with
the Chinese cemetery, the churches, the foreigners’ residences, or the northern hill with the Christian
cemetery and a new settlement of boat people’s houses. … Thus, the festival remained exclusive to
the land people on the island. (From Pages 115-117)
(An integrated economic and political unity)
Cheung Chau nowadays is in many ways an integrated economic and political unity. With the
growth of economic influence, leaders of the Tanka boat people who have settled onshore are joining
the local leadership, which formerly consisted only of the land people. … Regardless of their ethnic
origins they are eligible to participate in local political affairs. However, such openness of social
boundary is not without limits. Local ethnic associations continue to enhance identities through the
welfare and religious activities they organize. (From Pages 121-122)
(Features of the Cheung Chau Jiao Festival)
The jiao festival in Cheung Chau illustrates how this social boundary is at the same time inclusive
and exclusive. The jiao festival in Cheung Chau began as a single ethnic group’s activity and grew,
in time, into an event of the whole island. … Only Huizhou and Chaozhou people can receive the
blessing of the deities. Second, although some of them live on the island and many of them mingle
with the land people, the Tanka boat people and their original residential areas are excluded. They
are not allowed to participate in the organizing committee, and their original residential area is the
place where the symbols of misfortune are discarded. Third, although the Cantonese are blessed and
purified by the deities, they are excluded from the organizational and the religious arena of the
festival on ethnic grounds. Only members of the Huizhou and Chaozhou Prefectures Association can
be elected as chairmen and vice chairmen of the festival, and only their associations participate in
the procession. Finally, the symbolic core of the festival remains firmly Hailufeng. (From Page 122)
The social boundary indicated by the jiao festival in Cheung Chau is … a “complementary
opposition” in which different ethnic groups unite and at the same time deny the others. The
Hailufeng people and the Tanka boat people are at the two extremes of this centrifugal ethnic
continuum, while the Cantonese have been brought gradually into the ritual continuity in a
centripetal process. While economic and political development strengthens the forces of ethnic unity,
religious activities enhance the counterforces of ethnic boundaries.
252 Learning and Teaching Resource Pack for Secondary History Curriculum
(Editor’s note: The text on p.252 has been edited and adapted by the editor for the purpose of this teaching
kit. The headings are not in the authentic text, but added by the editor for the convenience of learning and
teaching. Teachers may refer to the following article to understand more about the details mentioned
above.)
Source: Choi Chi-cheung, ‘Reinforcing Ethnicity: The Jiao Festival in Cheung Chau’, in Down to Earth:
The Territorial Bond in South China (Stanford, California: Stanford University Press, 1995), pp.104-122.
The impact of the Cheung Chau Jiao Festival on the local
community and ethnic groups
Strengthening
the cohesion
between ethnic
groups
Evidence
Strengthening the
opposition between
ethnic groups
Evidence
Pak Tai Temple
Strengthening the
cooperation between the
Huizhou, Chaozhou and
Cantonese people. The Pak
Tai Temple belongs to all
three ethnic groups. Pak
Tai becomes the patron
deity of all three ethnic
groups. (Source 2)
The annual
arrangement of
operas at the Pak Tai
Temple
Only the Huizhou,
Chaozhou and Cantonese
people can perform one
opera for Pak Tai every
year. Ethnic groups outside
these three are excluded.
Membership in
the Cheung
Chau Jiao
Festival
Organizing
Committee
The unity between the
Huizhou and Chaozhou
people. A minority of the
Cantonese elite are also
members of the
Organizing Committee,
but they cannot become
chairmen and vice
chairmen. (Source 2)
Restrictions on the
membership in the
Cheung Chau Jiao
Festival Organizing
Committee
Only members of the
Huizhou and Chaozhou
Prefectures Association can
become chairmen and vice
chairmen. (Source 2) Both
Cantonese people and
Tanka boat people are
excluded from the Jiao
Festival Organizing
Committee.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
253
Strengthening
the cohesion
between ethnic
groups
Evidence
Strengthening the
opposition between
ethnic groups
Evidence
Geographical
extent of
cleansing and
blessing
Strengthening the unity
between the Huizhou
people living in Pak She
Street and San Hing Street.
The cleansed and
blessed area does not
include the whole
Cheung Chau.
The cleansed and blessed
area does not include Sai
Wan where the Tanka boat
people reside, the Chinese
cemetery, churches,
residences of foreigners in
North Hill, and the
Christian Cemetery and the
newly built villages of the
Tanka boat people in the
north. The bamboo poles
erected are not in the
residing area of the Tanka
boat people, showing that
they would not be blessed
and protected by the deities.
Their residential areas are
also regarded as the place
where misfortune is driven
to. (Sources 1 and 2)
The economy
developed in such a
way that different
ethnic groups on the
island have their own
resources.
Ethnic group organizations
on the island strengthen
their internal identities
through the provision of
social welfare and
participation in religious
activities.
Pak She Street and San
Hing Street are the first
settlement points of the
Huizhou people. Before
the jiao festival is
organized, residents firstly
cleanse these two streets
and San Hing Back Street.
This symbolic cleansing
ritual clearly reflects the
unity and the scope of
activities of the two ethnic
groups. (Sources 1 and 2)
Economic
development
All residents on the island
are eligible to take part in
political affairs of the
island. The Tanka boat
people who have already
settled on land are also
eligible.
(Source 2)
The nature of
the Cheung
Chau Jiao
Festival
It changed from an activity
of a single ethnic group to
a common activity of all
the residents.
The nature of the
Cheung Chau Jiao
Festival
The Cheung Chau Jiao
Festival is strongly featured
with Hailufeng flavor, thus
giving different ethnic
groups different levels of
identity.
The
composite-scene
parade
In the past, only the
clansmen association of
Huizhou and Chaozhou
people could take part in
the procession.
254 Learning and Teaching Resource Pack for Secondary History Curriculum
Strengthening
the cohesion
between ethnic
groups
Evidence
The continuity
of folk
handicraft and
performing arts
The paper effigies of the
Ghost King, the Earth God
and the Mountain God
necessary for the jiao
rituals are made by the
effigy masters of
Hailufeng descent.
Although such paper
effigies are no longer
economically efficient,
they still symbolize the
ethnic identity of the
Hailufeng community
members.
Strengthening the
opposition between
ethnic groups
Evidence
Cantonese people perform
the lion dance while
Hailufeng people perform
the unicorn and brave troop
dance, showing the
differences in the customs
between different ethnic
groups.
In the early 20th century,
residents of Pak She and
Nam She went to Foshan,
Guangdong, to learn the
making of colour floats.
Cheung Chau residents
who have already moved
out from Cheung Chau
come back every year for
the composite-scene
parade to appreciate the
beauty of the colour floats
of they own streets.
(video)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
255
Thinking point
How does the “complimentary opposition” concept reflected in the Cheung Chau Jiao Festival enhance the
long-term development of this traditional festival?
Supplementary information
The Cheung Chau Jiao Festival develops continuously in the whole course of communal activities
revealing “compliementary opposition”. Its significance lies in the ongoing unity and classification in the
midst of the jiao activities. For instance, participants are classified according to the streets in which they
live, and they form street associations to take part in the jiao festival. Only through such concerted
participation can the jiao festival be organized. However, during the jiao process, the different street
associations (representing different ethnic groups) are involved in competitions, e.g. they compete for
being the most splendid team in the procession, being the fastest team in returning to the deities altar in the
“Buddha’s run”, and being the most attractive and best decorated parade team. In the past, they even
competed for donating the most and fought against the rivals during the race of snatching buns on the bun
tower. Without such “unity” and “classification”, i.e. “complimentary opposition”, there would not be any
Jiao Festival. Therefore, the concept of “complimentary opposition” is the key concept for understanding
the Cheung Chau Jiao Festival. It is also the driving force for the further continuity of the Cheung Chau
Jiao Festival.
Activity 3
According to the discussion result of Activity 2, analyse the function of the Cheung Chau Jiao Festival in
the local community.
(Refer to each group’ arguments in Activity 2.)
256 Learning and Teaching Resource Pack for Secondary History Curriculum
C3 Debate
Debate topic “The Cheung Chau Jiao Festival is still a traditional
religious activity.”
Activity 1
Preparatory activity: Watch the video clip “Cheung Chao Jiao Festival”, take notes on the
main points of the text, website materials and photos, then both teams prepare their
arguments for the debate.
1. Text-based references:
a. 蔡志祥：
〈族群凝聚的強化：長洲醮會〉
，載陳慎慶編：
《諸神嘉年莘—香港宗教研究》(香港：
牛津大學出版社，2002年)，頁199-221。
˙ The religious meaning of the Cheung Chau Jiao Festival (Pages 213-219)
b. 蔡志祥、馬木池：
〈非物質文化遺產的承傳與保育—以長洲島的太平清醮為例〉
，載廖迪生主
編：
《非物質文化遺產與東南亞地方社會》(香港：香港科技大學華南研究中心、香港文化博
物館，2011 年)，頁 285-293。
˙ The origin of the Cheung Chau Jiao Festival (Pages 286-288)
˙ The cultural heritage (Pages 288-291)
˙ Suggestions on conservation (Pages 291-293)
c. 蔡志祥: 《打醮: 香港的節日各地域社會》
，香港：三聯書店， 2000年。
d. 蔡志祥，廖迪生：
〈傳統社會生活〉
，收於廖迪生，張仁和，蔡志祥編：
《香港歷史， 文化與
社會(一) 教與學篇》，
（香港：香港科技大學華南研究中心， 2001年）
，頁77-79。
e. 香港長洲太平清醮值理會編印，
《會景巡遊特刊》
（香港：香港長洲太平清醮值理會，2012）。
2. Website:
‘Cheung Chau Bun Festival - Hong Kong Tourism Board website’
(http://www.discoverhongkong.com/festivehk2010/tc/traditional/cheung_chau_bun/highlight_celebrati
ons.jsp), (Last access 18 December 2013).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
257
3. Photos: (Pay attention to the coexistence between Chinese and foreign cultures, traditional religious
elements and selling points of tourism)
258 Learning and Teaching Resource Pack for Secondary History Curriculum
Debate topic “The Cheung Chau Jiao Festival is still a traditional
religious activity.”
Before the debate, list out the major argument and bases of arguments of your side and those of the other
side, so as to facilitate your formulation of counter-arguments.
Example:
Positive side
Negative side
Argument: The Cheung Chau Jiao Festival is still
Argument: The Cheung Chau Jiao Festival has
a traditional religious activity.
already become a carnival-like tourist activity.
Evidence: The traditional religious features are
Evidence: The race of snatching buns on the bun
retained in the rituals of the first and second
towers and the second composite-scene parade are
composite-scene parades.
tourist attractions.
Argument:
Argument:
Evidence:
Evidence:
Argument:
Argument:
Evidence:
Evidence:
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
259
II. Field Trips
Tasks
Learning objectives
Names of activity
A
Elementary
level
1. To know the location and
4. Warm-up activity
deities of temples in Cheung 5. Interview
Chau
6. Report
2. To understand the symbolic
meaning of the procession
of deities in the composite
scene parade
3. To understand the threats to
elements of “intangible
cultural heritage”
How does the ritual of
inviting the deities work?
B
1. To know and understand the 4. Warm-up activity
Intermediate
religious ritual of Cheung 5. Interview
level
Chau Jiao Festival
6. Report
2. To nurture students’ care
and respect for the cultural
continuity of “intangible
cultural heritage”
What is the special
meaning
of
the
arrangement
of
the
festival area?
C
Advanced
level
What are the changes and
continuities
of
the
Cheung
Chau
Jiao
Festival?
1. To know and understand the 4. Warm-up activity
continuity and change of the 5. Interview
Cheung Chau Jiao Festival 6. Report
2. To nurture students’ care
and respect for the
preservation of “intangible
cultural heritage”
Inquiry questions
II. Field Trips
A Elementary task
Inquiry question: How does the ritual of
inviting the deities work?
260 Learning and Teaching Resource Pack for Secondary History Curriculum
A4 Warm-up activity
Checkpoints on the route of inviting the deities
Suggested date of the field trip: The 5th day of the 4th lunar calendar month
Suggested time of the field trip: Arrival at Pak Tai Temple before 9 a.m.
Activity 1
Pre-trip exercise
1. Finish this exercise before setting out for the field trip. Link up the temples in Cheung Chau with their
relevant community groups and/or events.
Relationships with local community groups /
relevant historical events
Checkpoint
1
A
It is located in Pak She Street in which many
Huizhou and Chaozhou people reside.
Established in 1783 (i.e. the 18th year of Emperor
Qianlong’s reign), it has a history of over 200
years. It was listed as Grade I historical building
by the Antiquities Advisory Committee.
Pak She Tin Hau Temple
2
B
It is located in Pak She Street in which many
Huizhou and Chaozhou people reside. The oldest
existing historical relic is a copper bell cast in
1767 (i.e. the 32nd year of Emperor Qianlong’s
reign). The temple underwent major renovations
in 1889 (i.e. the 15th year of Emperor Guangxu’s
reign) and 1968.
Pak Tai Temple (i.e.Yuk Hui
Temple)
3
Tai Shek Hau Tin Hau Temple
C
It is a colourful temple in the form of a pavilion.
It houses an 8-foot statue of Guandi (i.e. Kwan
Kung) carved out from an entire camphor tree.
On the couplets at the temple’s entrance are
written to describe the personality of this
historical figure of the “Three Kingdoms” era:
“Aspired to leave a legacy in history,
brilliant achievements in Shu Han he made.
Vowed to strict justice and saintly loyalty,
unfailing brotherhood and bond he displayed.”
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
261
Relationships with local community groups /
relevant historical events
Checkpoint
4
D
There are two horizontal inscribed boards
showing the words “Tongzhi” and “Daoguang”. It
can be inferred that the temple was established
before the middle of the Qing Dynasty. The
temple underwent renovation in 1898, and there
is a plaque stating the history of renovating the
temple.
Hung Shing Temple
5
E
It is located at Tai Shek Hau where many
Cantonese people live. Tin Hau is set at the
middle chamber of this temple for worshipping.
The shrine on the right hand side is for
worshipping the “Fly-back Heavenly General”
which is unique in Hong Kong.
Nam Tam Tin Hau Temple
6
F
It is located at the junction of Tai Sun Street and
Chung Hing Street, facing the Cheung Chau Wan
where many Guanyin and Hua Tuo statues are
placed. On 18 December 2009, the temple was
listed as Grade 2 historical building. In 1814 (i.e.
the 18th year of Emperor Jiaqing’s reign)
fishermen of the Island built this temple by
pooling together some fund. It was at first
managed by the local residents, but later it was
put under the Chinese Temples Committee for
management.
G
The origin of this temple cannot be traced any
more. According to some hear-say accounts,
though, it has a century-old history. The current
appearance of the temple was made during the
renovation work in 1968. The horizontal
inscribed tablet shows the words which mean
“The Palace of Tin Hau”, while the couplets are
inscribed as:
“Her holy virtues last for numerous centuries,
and her sacred light shines on every nation.
Her motherly bearing extends to eternity,
and her godly blessings reach all directions.”
Kwan Kung Pavilion
7
Cheung Chau Shui Yuet Temple
262 Learning and Teaching Resource Pack for Secondary History Curriculum
Relationships with local community groups /
relevant historical events
Checkpoint
8
It is located at Sai Wan of Cheung Chau, between
which and the Cheung Chau Wan the fishermen
of Cheung Chau reside. The temple has a
200-year long history. There is a copper bell cast
during the reign of Emperor Qianlong in the
temple, and a little pavilion behind it. On the
Birthday of Tin Hau every year, residents come to
present incense to Tin Hau. It is listed as Grade
III historical building.
H
Sai Wan Tin Hau Temple
My answers:
Local temples
Relationships
with the local
community
/
relevant events
1
2
3
4
5
6
7
8
e.g. B
A
E
F
G
C
D
H
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
263
Activity 2
Read the following map carefully concerning the route of inviting the deities. Where are the starting point
and the destination?
Pak Tai Temple
Activity 3: Photo-taking
Refer to Guideline on Field Trip, ask students to take photos of inviting deities at Checkpoints 1 and 2.
264 Learning and Teaching Resource Pack for Secondary History Curriculum
A5 Interview
1. Choose a target (either a worshipper in the temple or a tourist) to conduct the interview. The objective
of the interview is to analyse the interviewee’s level of understanding of the deity inviting rituals in
the Cheung Chau Jiao Festival.
Suggested questions and answers:
(1) Which religious ritual of the Cheung Chau Jiao Festival is being held now?
A.
Running the noon offering
B. Inviting the deities
C. The first composite-scene parade
D. Procession of the deities and the figures
(2) Who form the team that invites Xuantian Shangdi (i.e. Pak Tai) and Tin Hau?
A. The chairmen and vice chairmen of the Jiao Festival Organizing Committee
B. The Taoist ritual masters
C. The festival helpers bringing gongs and drums
D. All of the above
(3) According to your observation, which deity has the highest status in the deity-inviting ritual? Why?
A. Xuantian Shangdi (i.e. Pak Tai) of Tai Ping Shan
B. Hung Shing of Cheung Chau
C. Tin Hau of Sai Wan
D. Tin Hau of Chung Hing Street, Cheung Chau
E. Tin Hau of Nam Tam, Cheung Chau
F. Tin Hau of Pak She, Cheung Chau
G. Guanyin (i.e. Goddess of Mercy) of Shui Yuet Temple, Cheung Chau
H. Guandi (i.e. Kwan Kung) of Kwan Kung Pavilion, Cheung Chau
I.
Pak Tai of Yuk Hui Temple (i.e. Pak Tai Temple), Cheung Chau
(Reason: The Cheung Chau Jiao Festival takes Xuantian Shangdi (i.e. Pak Tai) of Yuk Hui Temple (i.e.
Pak Tai Temple) as its leading deity. Pak Tai is the deity commonly worshipped by residents of the
island.)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
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(4) Which of the following is the area of Pak Tai’s procession during the process of inviting the deities?
A. Offshore area from Cheung Chau Wan to Sai Wan
B. Hing Lung Street and Tai Sun Street
C. Chung Hing Street and Pak She Street
D. San Hing Street and Pak She Street
(5) Which of the following ethnic groups in Cheung Chau participate the most actively in the Cheung
Chau Jiao Festival?
A. Huizhou people
B. fishermen of Cheung Chau
C. Cantonese people living in Cheung Chau
D. Other Hong Kong residents visiting Cheung Chau
2. Record the interview results in the table below.
No. of
Q. 1
Q. 2
Q. 3
Q. 4
Q. 5
interviewees
Option B
Option D
Option I
Option D
Option A
No. of
interviewees
who provide
reasonable
explanations:
3. Analyse the interview results:
Based on the above interview results, analyse the interviewees’ level of understanding of the Cheung
Chau Jiao Festival.
Statistical analysis: ** Most/Few/Very few interviewees understand the process of inviting the deities
during the Jiao Festival.
Observation results: Based on interviewees’ facial expressions, responses, attitudes, etc.
266 Learning and Teaching Resource Pack for Secondary History Curriculum
A6 Report
1. The Checkpoint you visited is: (put a tick( ) in the appropriate box(es))
 Pak She Tin Hau Temple
 Pak Tai Temple (i.e. Yuk Hui Temple)
 Tai Shek Hau Tin Hau Temple
 Cheung Chau Hung Shing Temple
 Nam Tam Tin Hau Temple
 Kwan Kung Pavilion
 Cheung Chau Shui Yuet Temple
 Sai Wan Tin Hau Temple
2. Which temple in Cheung Chau impresses you the most? Why?
Free answer.
3. Record some unforgettable people and events during your field trip with pictures or words.
Free answer.
4. According to your interview results in Task A5 regarding interviewee’s understanding of the Jiao
Festival, what measures would you propose to increase the general public’s understanding of the
Cheung Chau Jiao Festival?
Free answer.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
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B
Intermediate task
Inquiry question: What is the special meaning
of the arrangement of the festival area?
B4 Warm-up activity
Checkpoints of bamboo poles, noon offering and festival area
Suggested date of the field trip: The 7th day of the 4th lunar calendar month
Suggested time of the field trip: During daytime
Activity 1
Pre-trip study
Before setting out for the field trip, fill in the following table the sequence and the respective venues of the
Jiao Festival rituals.
Ritual
Content
Venue
Inviting the deities
Inviting various deities on the island to watch the
daijiao
Drawing the eyes of the deities’ statues and starting the
worship
The ritual of presenting offerings to the deities from the
five directions
Presenting gifts to and driving off the spirits wandering
on the sea
Driving off the spirits of the deceased wandering in the
mountain
Inviting the Jade Emperor and various deities to come
forth
The deities parade through and cleanse the streets under
the leadership of the Taoist ritual masters
Under the leadership of the Taoist ritual masters, local
residents present gifts to the wandering spirits
Presenting animal meat to the deities so as to feed them
and pray for peace in the forthcoming year
All residents of the island can start eating meat.
During the jiao period, all residents of Cheung Chau
have to fast.
Distributing the lucky buns on the bun towers to all
people
To thank the deities by performing worshipping plays
Deities’ altar
2
Deities’ altar
3
Deities’ altar
5
Offshore area of Sai Wan
7
From the foothill to the
festival area
Jiao shed
6
Inside the festival area
8
Offshore area near Pak Tai
Temple Playground
Beneath the three great
gods’ altar
The whole island
The whole island
9
The opera shed
13
The opera shed
Every day
To repent in front of the deities and pray for forgiveness
for their sins.
Venues of erecting bamboo
poles in the festival area,
and the altars.
Previously in the Lucky
Bun Shed, and now in the
Pak Tai Temple Playground.
Every day
Dedication ceremony
Running the noon
offering
Feeding the water
ghosts
Presenting offering to
the Mountain God
Inviting the deities
Composite-scene
parade
Feeding the Ghost
King
Giving thanks to the
deities
Breaking the fast
Fasting
Distributing the
lucky buns
Performing
devotional Cantonese
operas
Running the
offerings and
repentances
The race of snatching
buns on the bun
towers
The race of snatching buns on the bun towers
268 Learning and Teaching Resource Pack for Secondary History Curriculum
Sequence
4
11
12
1
10
Activity 2
If the arrangement of the festival area is found to be different from the layout below, the following layout
plan can be modified. Then, choose 3 spots from (1) to (6) below for photo-shooting, and paste the photos
in the space below. Also, point out which category of intangible cultural heritage each of these places
belongs to.
(1) Pak Tai Temple
(2) The deities’ altar
(4) The jiao shed (i.e. the Taoist ritual masters’ shed)
(3) The opera shed
(5) The 3 big bun towers
(6) Small bun towers (Pak She Street)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
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Photo
Photo
Photo
Description
Description
Description
270 Learning and Teaching Resource Pack for Secondary History Curriculum
Activity 3
1. Label the locations of the 9 bamboo poles in the street map of Cheung Chau below:
(For answers, refer to p.186)
2. Analyse the location and the symbolic meaning of the locations of the bamboo poles.
Suggested answer:
According to the map above, on the day before the Jiao Festival starts, 9 bamboo poles are erected in
the festival area, and they are scattered to different locations of the old town area of Cheung Chau. This
is exactly the residing and living area of the Cheung Chau residents who help to organize the Jiao
Festival. It also symbolizes the area of cleansing and blessing. As regards Sai Wan where the boat
people live, the Chinese cemetery in Nam Shan, the church, the residences of foreigners, the Christian
cemetery of Pak Shan and the newly built villages of the Tanka boat people, these are not included in
the festival area. This reflects that the cleansed and blessed area of the Cheung Chau Jiao Festival does
not cover the whole island.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
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B5 Interview
1.
Select a target group (either the worshippers in the temples or the residents of Cheung Chau) to
conduct interviews. The objective is to analyse the interviewee’s level of understanding of the festival
area arrangements.
Suggested questions and answers:
(1) Which place of the festival area is for worshipping the Ghost King, the Mountain God and Earth God?
The three deities’ great altar
(2) Where is the noon offering run?
A. The opera shed
B. The deities’ altar
C. The bun towers shed
D. The plaza
(3) What is the main objective of running the noon offering?
A. To ensure good fortune for every year to come
B. To relieve disasters and calamities
C. To thank the deities for their grace and blessings
D. To destroy the old and establish the new
(4) Why is an opera shed set up in the festival area?
A. To raise the jolly atmosphere
B. To cleanse the community
C. To perform devotional Cantonese operas to entertain the deities
D. To remove the old and embrace the new
(5) What is the meaning of erecting bamboo poles in the festival area?
A. To indicate the location of the race of snatching buns on the bun towers
B. To reflect the importance of running the noon offering
C. To mark the location of feeding the ghosts
D. To delineate the area of cleansing and blessing
272 Learning and Teaching Resource Pack for Secondary History Curriculum
(6) How many locations of bamboo poles can you name?
- Outside the Yuk Hui Temple (i.e. Pak Tai Temple)
-
At the junction outside Pak She Tin Hau Temple
- At the junction of San Hing Street and Kwok Man Road
- Praya Road
- In front of Hung Shing Temple
- Next to Tai Shek Hau Tin Hau Temple
- At the the junction of Tai Shek Hau Road and Cheung Tsun Road
- At the roadside of Fook Tak Temple
- I’Tsz
(7-8) Based on the three places in the festival area you have chosen in Task B4, design two interview
questions.
(7) Interview question 1: _____________________________________________________
(8) Interview question 2: _____________________________________________________
2. Record the interview results in the table below.
No. of
Answered
interviewees Q.1
Q.2
Q.3
Q.4
Q.5
Option B
Option B
Option C
Option D
Q.6
Q.7
Q.8
correctly
3.
Analyse the interview results:
Based on the above interview results, analyse the interviewees’ level of understanding of the Cheung
Chau Jiao Festival.
Statistical analysis: ** Most/Few/Very few interviewees understand the meaning of erecting bamboo
poles, running the noon offering and the arrangement of the festival area.
Observation results: Based on interviewees’ facial expressions, responses, attitudes, etc.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
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B6 Report (Conservation of the Cultural Heritage of
the Cheung Chau Jiao Festival)
1. Based on the above interview results, analyse the interviewees’ level of understanding of the Cheung
Chau Jiao Festival.
Statistical analysis: ** Most/Few/Very few interviewees understand the meaning of the arrangement
of the festival area.
Observation results: Based on interviewees’ facial expressions, responses, attitudes, etc.
2. Based on the last question, what proposals would you make to strengthen the conservation of this
intangible cultural heritage and enable more people to understand the origin, development and
meaning of the Cheung Chau Jiao Festival?
Free answer.
3. Suppose you were a docent in charge of introducing the Cheung Chau Jiao Festival. Draft a set of
behavioural rules for tourists that inform them how they may help to preserve the intangible cultural
heritage of Cheung Chau.
Suggested answer:
1. Find out and understand the origin and meaning of the Cheung
Chau Jiao Festival.
2. Respect the religious rituals and do not trespass into the altar
area.
3. Do not block the passage during the lion dance parade.
4. Respect the fasting tradition of the local residents and do not
eat meat during the festival.
5. Cherish the paper effigies and keep your hands off them.
6. Keep silent when watching the devotional Cantonese opera.
7. Do not obstruct any ritual when taking photographs.
8. Any other reasonable answer.
274 Learning and Teaching Resource Pack for Secondary History Curriculum
C
Advanced task
Inquiry question: What are the changes and
continuities of the Cheung Chau Jiao
Festival?
C4 Warm-up activity
Checkpoints along the route of the composite-scene parade
Suggested date of field trip: The 8th day of the 4th lunar calendar month
Suggested time of field trip: Arrive at Cheung Chau before 9 a.m.
Activity 1
1. Interviewees with whom appointments must be made in advance:
(1) Street associations or sports associations (for gathering information on the production of the
colour floats)
(2) Paper effigy masters who work for the Cheung Chau Jiao Festival
(3) Members and helpers of the Cheung Chau Jiao Festival Organizing Committee
2. Pre-trip study
Finish the following exercise before setting out for the field trip to familiarize yourself with the parade
route.
Read the routes of the second composite-scene parades in 1977 and 2012 carefully, and answer the
following questions.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
275
The parade route of 1977
The parade route of 2012
1
1
Pak Tai Temple Playground
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 Chung Hing Street
7 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 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
Suggested answer provided:
a. Which checkpoint is the most important along the parade route? Why?
The Pak Tai Temple Playground is the most important because it is both the starting point and the
destination.
b. Which places are no longer on the parade route?
Tung Wan Road, Cheung Chau Beach Road and Kwok Man Road.
c. At which checkpoint would you stay to watch the second composite-scene parade? Why?
Pak She Street or San Hing Street, because the parade team passes through these places for two times.
276 Learning and Teaching Resource Pack for Secondary History Curriculum
Activity 2
Observation of focal points:
Changes and continuities
Having visited all checkpoints, now record all items of intangible cultural heritage you observed in the
area below.
The checkpoint that I have visited is: (put a tick( ) in the appropriate box(es).)
Pak Tai Temple Playground
Pak She Street
San Hing Street
Praya Road
Shing Cheong Lane
Tai Sun Street
Chung Hing Street
Tai Tsoi Yuen Road
Hing Lung Street
San Hing Street
What threats do you think the above intangible cultural heritage
items are now facing? Why?
Activity 3: Photo-taking activity
Take photographs during the second composite-scene parade.
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277
C5 Interview
During the field trip, interview (1) the members of the street / kai fong associations or sports associations
on the production of the colour floats, (2) the members of the Jiao Festival Organizing Committee on the
preparation work of the Jiao Festival, (3) the shop-keepers on the sales of products, or (4) the Cheung
Chau residents on their views about the bun tower scrambling race. The objective is to figure out the
changes and continuities in the Jiao Festival activities in the last 20 years.
1. Design some interview questions based on the following categories:
Interview questions
The preparation of
the Jiao Festival
The designated
dates for the Jiao
Festival
The second
composite-scene
parade
The race of
snatching buns on
the bun towers
Economic activities
(e.g. tourists and
shops, etc.)
Cheung Chau
residents’ views
about the Jiao
Festival
Participation of
different ethnic
groups
1. e.g.: How do the residents of Cheung Chau take part in the preparation
work of the Cheung Chau Jiao Festival?
2. e.g.: How were the dates of the Jiao Festival decided in the past?
3. e.g.: How different are the second composite-scene parade and the
production of colour floats nowadays from those in the past?
4. e.g.: How did the form of the race of snatching buns on the bun towers
change?
5. e.g.: What products/food are the most popular?
6. e.g. According to your opinions, what are the benefits of inscribing the
Cheung Chau Jiao Festival onto the National List of Intangible Cultural
Heritage?
7. e.g.: What do you think are the social functions of the Cheung Chau Jiao
Festival to the local community of Cheung Chau?
278 Learning and Teaching Resource Pack for Secondary History Curriculum
2. After the interview, tidy up the following table of changes and continuities in various aspects of the
Cheung Chau Jiao Festival.
Changes and continuities
Changes
The preparation of
the Jiao Festival
Continuities
Changes
Content of activities
of the Jiao Festival
Continuities
The second
composite-scene
parade
The race of
snatching buns on
the bun towers
Economic activities
(e.g. tourists and
shops, etc.)
Cheung Chau
residents’ views
about the Jiao
Festival
Participation of
different ethnic
groups
Changes
Continuities
Changes
Continuities
Changes
Continuities
Changes
Continuities
Changes
Continuities
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
279
C6 Report
Combining the interview results of Tasks C5 and C6, complete the table below about the changes and
continuities in various aspects of the Cheung Chau Jiao Festival and answer the following questions.
Suggested answers:
Cheung Chau Jiao Festival in
the past
The Jiao
Festival
Organizing
Committee
changes
continuities
Selections and
the selection of
festival dates
changes
continuities
The second
composite-scene
parade
changes
continuities
Cheung Chau Jiao Festival
nowadays
Although the restrictions were relaxed
after 1960 and some Cantonese people
take part in the committee, the chairmen
and vice chairmen must still be chosen
from members of the Huizhou and
Chaozhou Prefecture Association.
The Jiao Festival Organizing Committee has relaxed the restrictions on membership so
as to let any interested resident take part in the Jiao Festival matters.
Since 2001, the second composite-scene
In the past, the selection of chairmen and parade has been fixed on the 8th day of the
vice chairmen and the festival dates were 4th lunar calendar month for the
decided by casting divination blocks in convenience of tourists in watching the
Pak Tai Temple in the early 1st month of abundant events of the Cheung Chau Jiao
the 1st lunar calendar month.
Festival. It is no longer necessary to cast
divination blocks.
Before the 1960s, only members of the
Huizhou and Chaozhou Prefecture
Association could become members of the
Jiao Festival Organizing Committee.
Although the dates of the Jiao Festival are already fixed and need not be decided by
rituals in front of Pak Tai every year, the selection of the chairmen and vice chairmen are
still decided by casting kidney-shaped divination blocks in front of Pak Tai.
The religious features have been gradually
weakened, while the parade team becomes
longer, with flute-playing children’s teams,
folk dance teams and brass bands. This
increases the entertainment value of the
festival.
Same as the tradition, the procession team is led by the Taoist ritual masters. The deities
paraded throughout the festival area to cleanse the localities.
The processions in the past were purely
religious, featuring that the Cheung Chau
residents bear the deities’ shrines while
parading through the major streets in
Cheung Chau.
˙
˙Residents built the bun tower with
changes
Bun tower
continuities
changes
bamboo sticks.
˙All the buns on the tower were white
steamed bread.
˙After the Jiao rituals, residents rushed to
climb the bun towers to snatch the buns,
Taoist ritual masters bless the lucky buns while the Cheung Chau residents snatch the
buns and take them home for eating together with their families after the end of the
fasting period and the Jiao Festival. This is done to guarantee communal safety
Many Cheung Chau residents observed the
three-day fasting tradition.
Religious rituals
continuities
˙
The race of snatching buns on the bun
towers was restored in 2005. The bun
tower is built with steel rack, and the
buns are made of plastic. Safety
measures are adopted, and there are
races for the selection of good
athletes.
Bakeries sell not only lucky buns, but
also buns stuffed with fillings to earn
more profits.
The fasting tradition has been relaxed.
While the breaking of the fast would take
place after the Great Offering at 12:00
noon in the past, the restaurants on the
island have started to sell meat dishes right
after the second composite-scene parades
in recent years.
The traditional jiao rituals of the Hailufeng localities are retained.
280 Learning and Teaching Resource Pack for Secondary History Curriculum
2. Why are there changes in the tradition? What are the advantages and disadvantages of such changes?
Reasons for the changes in the tradition
e.g.:
The dates of the festival being no longer decided by casting divination blocks in the Pak Tai Temple,
this was done to coordinate with the general holidays and for visitors’ convenience in visiting the
festival in Cheung Chau. The Organizing Committee decided to change the tradition, increase the
number of parade teams and strengthen the promotion so as to make the Cheung Chau Jiao Festival
the focal point of tourists. In order to promote tourism and ensure hygiene and safety, the white
steamed buns for the race of snatching buns on the bun towers are replaced by plastic buns.
The advantages and disadvantages of the changes
e.g.: Advantage – The festival becomes a focal point of cultural tourism; more people get to know this
festival.
Disadvantage – In order to coordinate with the development of the tourism industry, the religious
elements of the traditional religious activities are compromised and neglected.
3. Effective means of conservation
Free answer
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
281
III. Extended learning tasks
Tasks
Learning objectives
Names of activity
A
Elementary
level
1. To know the different
How would you
7. Concept map
introduce this traditional
8. Name of the festival
9. Introduction of the festival festival in Cheung Chau?
names of the Jiao
activities
Inquiry questions
2. To understand the nature
of this festival
3. To know more about
“intangible cultural
heritage”
B
1. To know the special
Intermediate
features of this festival
level
2. To understand why
7. Choice of souvenir
8. Symbol of the festival
9. Design of souvenir
What is the best symbol
of this traditional
festival?
Cheung Chau Jiao
Festival is an item of
“intangible cultural
heritage”
C
Advanced
level
1. To know the content and 7.
implication of this
8.
festival
9.
2. To understand the
Evaluation of video
What is the best way to
Design of pamphlet
promote and conserve
Proposal of cultural
this traditional festival in
heritage conservation
Hong Kong?
importance of this festival
3. To know the ways of
conservation
282 Learning and Teaching Resource Pack for Secondary History Curriculum
III. Extended Learning
A Elementary task
Inquiry question: How would you introduce
this traditional festival in Cheung Chau?
A7 Concept map
What do you know about the traditional festival in Cheung Chau? Watch the video and complete the
following concept map with your own knowledge.
Video clips: Cheung Chau Jiao Festival
OR other programmes such as
長洲太平清醮
http://www.youtube.com/watch?v=bJUfr_PUqJA for 5”
(Last access 3 January 2014)
吾土吾情
http://www.youtube.com/watch?NR=1&feature=endscreen&v=gMWQRFTBx3A
http://www.youtube.com/watch?feature=endscreen&v=J6SM2p_wiEM&NR=1
(Last access 3 January 2014)
Teaching tips:
Teachers can guide the students by asking the following questions:
1.
When, where and by whom is the Cheung Chau Jiao Festival organized?
2.
What are the religious and artistic elements of the Cheung Chau Jiao Festival?
3.
Why has the race of snatching buns on the bun towers appeared in the Cheung Chau Jiao Festival in
recent years?
4.
What are the risks that the Cheung Chau Jiao Festival has faced at the social level in recent years?
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
283
Who (participants):
1. ________ people
When (time of origin):
Late _____th century
Who (deities):
1. Pak Tai
Where (temple):
Pak Tai Temple
2. ________ people
2. _________
3. Cantonese people
3. Earth God
4. _________
When (time of celebration):
The ____th month of
the lunar calendar
Where (location):
________ Street,
Cheung Chau
Basic
information
Religious
aspect
Cheung Chau Jiao Festival
Artistic
aspect
Social aspect
What (rituals):
1. Inviting the sacred ones (i.e.
deities)
2. _______________________
3. Purifying the altar and
Consecration
4. _______________________
5. Feeding the water ghosts and
relieving them from suffering
6. Sending off the flower boat
7. Handing out talismans
8. _______________________
_______________________
9. Great offering to the
wandering spirits
10. _______________________
_______________________
11. Hailufeng _______________
_______________________
What (folk and
Why (Reasons for
traditional arts):
artistic development
What (threats):
1. _______________
related to the festival):
1. Knowing little about the
2. Qilin dance
1. Social identity /
3. _______________
Social _________/
4. ___________ craft
Sense of __________.
5. Devotional
Cantonese operas
6. _______________
_______________
_______________
2. Bustling, festive
atmosphere
3. Attracting a lot of
_____________
4. Importing techniques
from the ___________
region
process of ____________
2. _____________ of Cheung
Chau residents.
3. Gradual _______________ of
small-scale industries in
Cheung Chau
4. Reduction in the availability of
______________
5. _____________ in size of
operation
6. Simplification of rituals
284 Learning and Teaching Resource Pack for Secondary History Curriculum
Suggested answer (with the basic information):
Who (participants):
1. Huizhou people
When (time of origin):
Late 19th century
Who (deities):
1. Pak Tai
Where (temple):
Pak Tai Temple
2. Chaozhou people
2. Ghost King
3. Cantonese people
3. Earth God
4. Mountain God
When (time of celebration):
The 4th month of
What (rituals):
1. Inviting the sacred ones (i.e.
deities)
2. Cleaning the neighbourhood
3. Purifying the altar and
consecration
4. Offerings & repentances
5. Feeding the water ghosts and
relieving them from
suffering
6. Sending off the flower boat
7. Handing out talismans
8. Second composite-scene
parade
9. Great offering to the
wandering spirits
10. Snatching buns on bun
towers
11. Hailufeng white-characters
opera
the lunar calendar
Where (location):
Pak Tai Street,
Cheung Chau
Basic
information
Religious
aspect
Cheung Chau Jiao Festival
Artistic
aspect
Social aspect
What (folk and
Why (Reasons for
traditional arts):
artistic development
1. Colour floats
related to the festival):
What (threats):
2. Qilin dance
1. Social identity /
1. Knowing little about the process
3. Lion dance
Social coherence /
4. Paper craft
Sense of belonging.
5. Devotional
Cantonese opera
6. Snatching buns on
bun towers
2. Bustling, festive
atmosphere
3. Attracting a lot of
tourists
4. Importing techniques
from the Foshan region
of change
2. Emigration of Cheung Chau
residents.
3. Gradual disappearance of
small-scale industries in Cheung
Chau
4. Reduction in the availability of
resources
5. Shrinking in size of operation
6. Simplification of rituals
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
285
A8 Name of the festival
Would you like to call the festival ‘Taiping Qingjiao’, ‘bun festival’ or other names? Explain your answer.
Name of the
festival
Reason(s)
Implication
Suggested answers for A8
Name of the
Cheung Chau Bun Festival
festival
Reason(s)
˙ easy to remember, especially for foreigners
˙ lucky bun: related to both the exciting race of snatching buns on the bun towers
and the religious meaning of blessing others
Implication
˙ focus more on its attraction to tourists rather than its religious tradition.
Name of the
Taiping Qingjiao of Cheung Chau
festival
Reason(s)
˙ There are different jiao rituals in each day of this annual event, and these are all
conducted by Taoist ritual masters.
˙ Conventionally, residents of Cheung Chau have called it the Cheung Chau
Taiping Qingjiao.
Implication
˙ more authentic as it is a traditional religious practice in Cheung Chau
Name of the
Free answer
festival
Reason(s)
Any reasonable answers
Implication
Any reasonable answers
286 Learning and Teaching Resource Pack for Secondary History Curriculum
A9 Introduction of the festival
To introduce the festival, you have to work individually or in pairs and you are required to
1.
select 1-4 pictures (primary or secondary source, or own drawing) that show(s) the characteristics of
the Festival related to intangible cultural heritage and paste it/them to the spaces provided.
2.
3.
describe the key message of the pictures; and
explain the reasons for choosing the picture(s).
Picture 1
Picture 2
Description of the picture:
Description of the picture:
Reasons for the choice:
Reasons for the choice:
Picture 3
Picture 4
Description of the picture:
Description of the picture:
Reasons for the choice:
Reasons for the choice:
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
287
Sample for A9
Picture(s)
with caption
The bun towers
Description
of the picture
Reasons for
the choice
These big and small bun towers made of lucky buns are located in the playground
outside the Pak Tai Temple. Sponsors of the activities include local communities,
kaifong associations and some charitable organizations. These bun towers are made to
thank the deities and bring good luck to everyone.
As reported by the local media, the race of snatching buns on the bun towers is one of
the most eye-catching activities of the Cheung Chau Jiao Festival. Apart from the local
residents of Cheung Chau, tourists are also attracted to obtain the buns distributed by
the activities organizer for their implications of peacefulness. As the bun towers have
become the well-known icon of the Cheung Chau Jiao Festival, the race of snatching
buns on the bun towers becomes the representative medium that unites the local
residents and tourists.
Marking
Total
1.
Picture(s) chosen: clear, relevant
2
2.
Description: clear, relevant, able to identify the key message
4
3.
Reasons: clear, logical, related to the characteristics of the Festival and
4
its nature as an intangible cultural heritage
10
Other comments:
288 Learning and Teaching Resource Pack for Secondary History Curriculum
Marks
B
Intermediate task
Inquiry question: What is the best symbol of
this traditional festival?
B7 Choice of souvenir
Look at the souvenirs in the pictures and do the two following tasks:
1. Search the souvenirs of this traditional festival that are not shown in the picture and paste the photos
or images of these souvenirs onto the area below.
Souvenirs which I can find from *books/internet/my own collection:
* Delete where appropriate
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
289
2. Referring to Task 1, which souvenir do you like most? Explain your answer.
Your choice
Reason
Suggested answer for task 2
Your choice
Free answer
Reason
Free answer: Students may refer to the design, the price,
the target recipient or other factors.
290 Learning and Teaching Resource Pack for Secondary History Curriculum
B8 Symbol of the festival
Nowadays, the ‘lucky bun’ has become the symbol of the Cheung Chau Jiao Festival. Do you know why?
Watch the video and find out the reasons.
Video: Cheung Chau Jiao Festival
Attractions of
Characteristics of the lucky bun
Why it is chosen as the symbol
Other items
Why they are not chosen as the symbol
the ‘lucky bun’
Other items
less appropriate
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
291
Suggested answer
Attractions of
Characteristics of the lucky bun
Why it is chosen as the symbol
the ‘lucky bun’
Round shape of the buns & the
Cute; compatible with different products;
implication of ‘luck’
brings blessings
With different flavours
Delicious; a good idea for arranging
cookery class
The race of snatching buns on the bun
Exciting; widely covered by the media
towers
Attractive to different kinds of people
Other items
Other items
Why they are not chosen as the symbol
less appropriate
Lion dance
Not so unique, since there are also lion
dances in other occasions.
Devotional Cantonese operas
Not so unique, since there are also
devotional Cantonese operas around the
Buddha’s Birthday in many places.
Colour floats parade
Not so unique, since there is also a parade
in the evening of the 2nd Chinese New
Year Day
292 Learning and Teaching Resource Pack for Secondary History Curriculum
B9 Design of souvenir
You are required to complete the table according to the following instructions:
1.
design a brand-new souvenir for the festival that is not related to the lucky bun;
2.
describe the features and meaning of the souvenir and highlight the characteristics of the festival and
its nature as an intangible cultural heritage; and
3.
give a 5-minute presentation to the whole class to promote the product.
You may work in pair or in group.
The product and
its features
Link with the
festival and
intangible
cultural heritage
Class
Format
Content
presentation
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
293
Sample for B9
The product
A commemorative stand featuring the Pak Tai Temple
and its features
Link with the
Festival
Class
presentation
Pak Tai Temple is one of the central places of religion and traditions among the
Cheung Chau residents. It is also the starting point and the destination of the
composite-scene parades. Even the race of snatching buns on the bun towers, i.e. the
finale of the Jiao Festival, is also held in the football field near the Pak Tai Temple.
Therefore, the Pak Tai Temple can be regarded as the focal point of the Cheung Chau
Jiao Festival.
Format
Content
The students shoot
and edit a
commercial clip of
about 30 seconds, and
play it during their
presentation in the
lesson.
A granny who is physically immobile recollects and narrates
the good old days to her grandchildren, and expresses how
much she misses the bustling and jolly atmosphere of the
Cheung Chau Jiao Festival. She wants to visit Cheung Chau
again and take part in the celebration of the Jiao Festival.
Thus, her grandchildren try their best to make a
commemorative stand featuring the Pak Tai Temple
according to its photos, showing their love and care for their
granny.
Marking
Total
1.
Design: interesting; creative; feasible
3
2.
Description: clear; relevant; interesting; related to the characteristics of
4
the festival and its nature as an intangible cultural heritage
3.
Class presentation: clear; able to sell the product; within the time limit
3
10
Other comments:
294 Learning and Teaching Resource Pack for Secondary History Curriculum
Marks
C
Advance task
Inquiry question: What is the best way to
promote and conserve this traditional festival
in Hong Kong?
C7 Evaluation of video
1. Do you think the video included in this package provides adequate information to explain why the
Cheung Chau Jiao Festival is inscribed onto the Third National List of Intangible Cultural Heritage?
Watch the video and explain your answer.
Video: Cheung Chau Jiao Festival
Meaning of intangible cultural heritage
Characteristics of the Cheung Chau Jiao
Festival mentioned in the video
Relevant
information
provided
(Yes or No)
It is transmitted from generation to
generation.
It is constantly recreated by communities
and groups in response to their
environment, their interaction with nature
and their history.
It provides the communities and groups
with a sense of identity and continuity, thus
promoting respect for cultural diversity and
human creativity.
It belongs to the practices, representations,
expressions, knowledge, skills, as well as
the instruments, objects, artifacts and
cultural spaces associated with the
UNESCO Convention for the Safeguarding
of the Intangible Cultural Heritage 2003.
Communities, groups and, in some cases,
individuals recognize them as part of their
heritage.
It is manifested in one of the following
domains: oral traditions and expressions,
including language as a vehicle of the
intangible cultural heritage; performing arts;
social practices, rituals and festive events;
knowledge and practices concerning nature
and the universe; traditional craftsmanship.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
295
Suggested answer
Meaning of intangible cultural heritage
Characteristics of the Cheung Chau Jiao
Festival mentioned in the video
It is transmitted from generation to
generation.
An annual event since the late 19th century
Yes
It is constantly recreated by communities
and groups in response to their
environment, their interaction with nature
and their history.
Changes in date, the race of snatching buns
on the bun towers, introduction of the
parade (see A3 Task 1 for details)
Yes
It provides the communities and groups
with a sense of identity and continuity, thus
promoting respect for cultural diversity and
human creativity.
Since the 19th century, the festival has been
held every year without any break. The
fundamental religious rituals of the
Hailufeng region is carried on, thus
providing a sense of identity and continuity.
On the other hand, it can also adapt to social
and economic changes and unite different
ethnic groups on the island. It also takes in
various cultural elements, e.g. Cantonese
operas, lion dance, colour floats, etc. It
brings into full play its creativity, and turns
the traditions of Huizhou and Chaozhou
people in Cheung Chau into a traditional
activity of the Cantonese people and other
ethnic groups as well.
Yes
It belongs to the practices, representations,
expressions, knowledge, skills, as well as
the instruments, objects, artifacts and
cultural spaces associated with the
UNESCO Convention for the Safeguarding
of the Intangible Cultural Heritage 2003.
Everything e.g. the paper effigy of the
Ghost King, the gongs and drums, the
colour floats, etc.
Yes
296 Learning and Teaching Resource Pack for Secondary History Curriculum
Relevant
information
provided
(Yes or No)
Meaning of intangible cultural heritage
Characteristics of the Cheung Chau Jiao
Festival mentioned in the video
Relevant
information
provided
(Yes or No)
Communities, groups and, in some cases,
individuals recognize them as part of their
heritage.
Residents of both Cheung Chau and Hong
Kong try to keep it as part of their tradition
through organizing and sponsoring the
festival.
Yes
It is manifested in one of the following
domains: oral traditions and expressions,
including language as a vehicle of the
intangible cultural heritage; performing arts;
social practices, rituals and festive events;
knowledge and practices concerning nature
and the universe; traditional craftsmanship.
Cheung Chau residents being mobilized to
donate money, take part in worshipping and
activities of entertaining the deities (social
practices, rituals and festive events).
Yes
Making of folk crafts by craft masters from
the Hailufeng region. The most important
paper craft items are the three giant deity
statues of the Ghost King, the Earth God
and the Mountain God, which are about five
metres tall.
2. Is the video “Cheung Chau Jiao Festival” useful as a media to let the public know and understand the
continuities and changes of this traditional festival?
Suggested answer:
Yes, it is useful. It has a good coverage of different aspects which include the following:
-
Origin of the festival
-
changing role of different clans in conserving the festival
-
traditional religious rituals with the addition of new elements
-
interview of the paper craft masters about the heritage of skills in making the folk craft
-
interview of historians and experts about the need and ways of cultural conservation
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
297
C8 Design of pamphlet
To promote cultural tourism in Hong Kong, you are required to design a pamphlet (printed or electronic)
to:
1.
2.
introduce the Cheung Chau Jiao Festival; and
select a theme which shows the characteristics of the festival and its nature as an “intangible cultural
heritage”, and describe the related cultural experiences during the Festival.
3.
[Optional task: Give a 5-minute presentation to promote the tour package – Use a scale of 0-5 marks
for clarity, level of interest and effectiveness in promoting the package.]
You may work in pair or in group.
Suggestions for C8
P.1 - Cover: introduce the theme
P.2 - Introduce Cheung Chau Jiao
P.3 - Overview of the theme
Festival: why it is worth the
and relevant cultural
experience
experiences
298 Learning and Teaching Resource Pack for Secondary History Curriculum
Suggestions for C8
P.4-5 - Map and/or pictures: highlights of different cultural experiences
P.6 - Closing: how to get
(Sample 1)
further information
(Sample 2)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
299
Marking
Total
1.
Introduction: interesting; correct information
2
2.
Description: interrelated theme and cultural experiences; interesting;
5
correct information; related to the characteristics of the festival and its
nature as an intangible cultural heritage
3.
Design: clear; interesting; creative
3
10
Other comments:
300 Learning and Teaching Resource Pack for Secondary History Curriculum
Marks
C9 Proposal of conserving the cultural heritage
of Cheung Chau Jiao Festival
Study the following source about the conservation of intangible cultural heritage and finish Tasks 1 and 2
about the assessment and suggestions for the conservation of intangible cultural heritage:
Do you know?
Procedures for the conservation of intangible cultural heritage in Hong Kong
Step 1 - Finding out the cultural value of the intangible cultural heritage:
 The Intangible Cultural Heritage Advisory Committee, which was set up in 2008, steers the conduct of the
territory-wide survey on Hong Kong’s ICH.
 The South China Research Centre (SCRC) of the Hong Kong University of Science and Technology (HKUST)
was commissioned by the HKSAR Government to form a survey team which conducts a territory-wide survey
of ICH in Hong Kong with a view to collecting research data and extensive research and field work.
 The territory-wide survey involves documentary research, drawing up a preliminary list of ICH in Hong Kong,
commencing extensive field work, taking video recordings and organizing an oral history survey.
Step 2 – Assessment:
 The survey team assesses each of the surveyed items in regard to the following aspects: (1) the number of
practitioners; (2) status of transmission; (3) uniqueness as Hong Kong’s ICH; (4) historical depth; and (5)
association with community.
 The Advisory Committee considers the uniqueness of each ICH item, its relative cultural heritage value and
importance, as well as its historical, literary, artistic and scientific values, according to the definition and
categories stated in the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage 2003.
Step 3 – Policy making:
 The Government will develop an online database for making available ICH inventory items and the
information gathered by the survey team through studies and researches. It also updates the information of
these items for easy access by the public as well as adding new items to the inventory where appropriate.
 The Advisory Committee organizes public consultation and briefings in various districts, publicizes the
conservation of ICH, drafts reporting forms and forming official channels to collect the views of the public.
Afterwards, it would publish the first ICH inventory list for Hong Kong.
Step 4 – Planning for and implementing conservation according to policies:
 The Government will draw up a representative list of ICH for Hong Kong which provides the Government
with a basis for prioritizing resources and safeguarding measures.
 The ICHAC will nominate suitable items on the representative list for application for inscription onto the
National List of ICH or UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
 The Government will devise and implement a host of safeguarding measures which cover identification,
documentation, in-depth research, conservation, promotion and transmission of the heritage.
Step 5 – Evaluation and following up in the long run:
 The survey team will continuously advise the Government and advocate various social organizations and the
general public to take part in the safeguarding and conservation of ICH. It will also urge the Government to
formulate new policies and offer financial support to prolong the conservation of ICH.
Source of information:
“LC Paper No. CB(2)1299/12-13(05), Legislative Council Panel on Home Affairs Territory-wide
Survey of Intangible Cultural Heritage in Hong Kong (14 June 2013) – Hong Kong Heritage Museum
website” (http://www.heritagemuseum.gov.hk/downloads/Survey&annex_E.pdf), (Last access 29
October 2013).
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Exemplars of Learning and Teaching Activities
301
Try to assess the current circumstances of the Cheung Chau Jiao Festival as an intangible cultural heritage
and formulate a scheme of conservation.
1. Assessment of the current circumstances of the intangible cultural heritage:
Thinking point
Content to be assessed
Need for
conservation
1 = Maximum/
5 = Minimum
Historical
value
Community
Facing
challenges
Brief
summary
When did the intangible
cultural heritage originate?
1-2-3-4-5
Which specific period of
history does it reflect?
1-2-3-4-5
Do other places have
similar intangible cultural
heritage?
1-2-3-4-5
What is its practical use in
Hong Kong/ the
community?
1-2-3-4-5
Does Hong Kong/ this
community have any
intangible cultural heritage
of a similar purpose?
1-2-3-4-5
Is it properly managed by
the government/ community
organizations?
1-2-3-4-5
Does the commercialization
of tourism affect the
intangible cultural heritage?
1-2-3-4-5
Is the public aware of its
conservation?
1-2-3-4-5
Does this intangible cultural
heritage face the problem
of inheritance?
1-2-3-4-5
Is it necessary to conserve this intangible cultural heritage? Why or why not?
302 Learning and Teaching Resource Pack for Secondary History Curriculum
2. Formulating a scheme of conservation:
Means of
conservation
Feasibility
Benefits
Costs
1 = Maximum/
5 = Minimum
Strengthening the
management
1-2-3-4-5
Spreading
conservation-related
knowledge during
the course of
tourism
1-2-3-4-5
Emphasizing
cultural experience
through tourism
development
1-2-3-4-5
Discovering its
economic value and
benefits
1-2-3-4-5
Strengthening the
promotion of the
intangible cultural
heritage
1-2-3-4-5
Opening up
professional
education related to
heritage
1-2-3-4-5
Strengthening the
protection of
inheritors
1-2-3-4-5
Brief summary:
Which of the above means of conservation do you find the most suitable? Why?
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304 Learning and Teaching Resource Pack for Secondary History Curriculum
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References
305
Safeguarding Intangible
Cultural Heritage:
The Hong Kong Experience
CHAU Hing-wah
Introduction
This paper outlines the protective works undertaken by the Hong Kong Special Administrative Region
(HKSAR) Government and by the local community in safeguarding Intangible Cultural Heritage (ICH)
since the establishment of the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural
Heritage in April of 2006. Actions taken include: the establishment of safeguarding organizations, the
creation of an inventory, the completion of a territory-wide survey of ICH, the inscription of local items on
the national list of ICH in China, the inclusion of Cantonese Opera on UNESCO’s Representative List,
and various measures undertaken by local organizations to safeguard heritage and protect items of ICH.
Institutional Establishment
At the General Conference on 17 October 2003, the United Nations Educational, Scientific and
Cultural Organization (UNESCO) adopted a Convention for the Safeguarding of Intangible Cultural
Heritage (the Convention).1 The purposes of the Convention were:
(i) to safeguard the Intangible Cultural Heritage (ICH);
(ii) to ensure respect for the ICH of the communities, groups and individuals concerned;
(iii) to raise awareness at the local, national and international levels of the importance of the ICH,
and of ensuring mutual appreciation thereof; and
(iv) to provide for international cooperation and assistance.
A country with a long and continuous history of five thousand years, the People’s Republic of China
(PRC) is extremely rich in intangible cultural tradition and heritage, and was one of the significant driving
forces urging the adoption of the Convention in 2003. The PRC ratified the Convention in August 2004
and became the sixth State Party of the Convention. At the invitation of the Central Government, the
Government of the Hong Kong Special Administrative Region (HKSAR) agreed in December 2004 that
the Convention would apply to the HKSAR once the Convention was formally enforced. The HKSAR
Government’s Home Affairs Bureau (HAB) is the policy bureau responsible for the preservation of ICH in
Hong Kong while the Leisure and Cultural Services Department (LCSD) is the executive department
responsible for implementing the measures in safeguarding local ICH.
Shortly before the Convention formally went into effect in April 2006, a new ICH Unit was
established under the Hong Kong Heritage Museum of the LCSD, to provide support for the
implementation of the Convention in Hong Kong. One of the major tasks of the ICH Unit was to conduct
the first territory-wide survey of ICH in order to collect useful and sufficient data for compiling the first
UNESCO, “Convention for the Safeguarding of the Intangible Cultural Heritage,” 17 October 2003,
(http://unesdoc.unesco.org/images/0013/001325/132540e.pdf).
1
306 Learning and Teaching Resource Pack for Secondary History Curriculum
inventory of ICH in Hong Kong, a task which was one of the stipulated obligations of the State Parties to
the Convention. Other major tasks of the Unit include raising the visibility of local ICH through inclusion
of selected local items onto the national list of ICH in China and on to the Representative List of ICH of
Humanity of UNESCO. Additional responsibilities of the unit included promoting local ICH through such
educational activities as public talks, field visits, seminars, conferences and exhibitions; engaging the
community in the process of the territory-wide survey through attending meetings of District Councils and
of the Heung Yee Kuk; and collaborating with similar ICH institutions on the Mainland and in Macau to
protect ICH in the region over all. In view of the growing interest of the Hong Kong public in local ICH
and the growing demand for better protection of endangered ICH items, the Unit is also growing quickly
and its manpower, currently standing at three curatorial staff, will be further strengthened in the near
future.
In order to engage the community in the safeguarding of ICH, in July 2008 the Secretary for Home
Affairs appointed an ICH Advisory Committee to advise the Government on the research methodology
and monitor the conduct of the first territory-wide survey of ICH in Hong Kong. This committee is chaired
by the Director of the Leisure and Cultural Services Department and its membership comprises
professionals, academics, community personalities and government representatives. The ICH Unit of the
Hong Kong Heritage Museum is required to provide secretarial support to the committee including,
among others, the preparation of discussion papers and meeting minutes. The committee has held five
meetings between 2008 and 2010, and members have given valuable and constructive advice on a number
of issues concerning the territory-wide compilation of the inventory of ICH in Hong Kong. On 1 January
2011, the Government appointed the new term of the ICH Advisory Committee with its membership
enlarged to 14 unofficial members and with Prof. Yu Siu-wah, Department of Music of the Chinese
University of Hong Kong, appointed as the Chairman.2 Moreover, the terms of reference of the new
committee have been revised to cover not only the conduct of the territory-wide survey but also the
compilation of the first ICH inventory, the selection and nomination of ICH items for application for
inscription onto the national list or UNESCO’s list, and the providing of advice to the Government on
measures for safeguarding local ICH items.
Inventory-making
The making of inventories of ICH is one of the key obligations of States Parties to the Convention.
Article 12 of the Convention stipulates that “...to ensure identification with a view to safeguarding, each
State Party shall draw up, in a manner geared to its own situation, one or more inventories of the
Intangible Cultural Heritage present in its territory. These inventories shall be regularly updated.” In order
to comply with this provision, the ICH Unit of the Hong Kong Heritage Museum was tasked to conduct a
territory-wide survey on the ICH of Hong Kong, with a view to compiling an inventory of Hong Kong’s
ICH.
Since inventory-making of ICH is new experience for most countries, the Government considered it
desirable to conduct a pilot survey in the first instance to determine the various complex issues crucial to
the imminent implementation of the territory-wide survey. In October 2006, the Hong Kong Heritage
Museum commissioned the South China Research Center of the Hong Kong University of Science and
Technology (HKUST) to conduct a pilot study on ICH in Hong Kong, with reference to the 78 items of
ICH inscribed on the first provincial list of ICH of Guangdong. The purpose of this pilot study was to
identify the various complex issues that would be crucial for the implementation of the territory-wide
survey which itself would provide the necessary research data for the compilation of an inventory of the
Home Affairs Bureau, “News release: Appointments to Intangible Cultural Heritage Advisory Committee,” 30
December 2010,(http://www.hab.gov.hk/file_manager/en/documents/publications_and_press_releases/
20101230_ICHA_EN.pdf).
2
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References
307
ICH in Hong Kong. The HKUST submitted the final study report in October 2007. The study found that of
the 78 ICH items listed by Guangdong, 34 of them were relevant to Hong Kong. Subsequently, extensive
field work has been conducted to record the 34 items and about 50 ICH holders have been interviewed to
provide details of these ICH items. 3 The study revealed that although these items originated from
Guangdong, their contents evolved after they had adapted to the local environment in Hong Kong. In the
process, these ICH items had developed into new ones with local traditions distinctive from the ones in the
Mainland and had built their own identities in the Hong Kong community. The identification and
protection of these ICH items had special meaning for those marginalized local community groups
concerned, because identification of their ICH would imply recognition of their traditions and thus
enhance the groups’ identities. Moreover, the study report made useful recommendations regarding how
the first territory-wide survey of ICH in Hong Kong should be carried out such as the methodology and the
composition of survey teams. These recommendations have been accepted in principle by the
Government.
Having examined the findings and recommendations of the pilot study report and taken the advice of
the ICH Advisory Committee, in July 2008 the Hong Kong Government embarked on a tendering exercise
to engage academics from local academic institutes, those with relevant expertise and research experience,
to conduct the territory-wide survey. To maximize efficiency, the survey was divided into two field survey
areas, each covering nine districts. These were:
(i)
(ii)
Survey Area A: North, Tai Po, Sha Tin, Sai Kung, Wong Tai Sin, Kwun Tong, Kowloon City,
Sham Shui Po and Yau Tsim Mong.
Survey Area B: Yuen Long, Tuen Mun, Tsuen Wan, Kwai Tsing, Islands, Central & Western,
Wan Chai, Eastern and Southern.
The survey team was required to conduct both desk-top research and field surveys. Desk-top research
included: searches of publications on local historical, anthropological and other cultural studies; searches
of unpublished papers, records, archival and historical documents through public libraries, archives and
the tertiary institutions; and searches of any other unpublished reports and audio-visual archives kept by
local museums and government departments. The field survey was to record and document the ICH items
in the survey areas in the following manner:
(i)
discussion with local informants to establish the locality, timing, event programme and bearers
of Intangible Cultural Heritage;
(ii) oral history survey with the identified ICH bearers on details of the heritage items;
(iii) photographic and video recording of the particular event in which the Intangible Cultural
Heritage takes place; and
(iv) collection of instruments, objects, artifacts and documents associated with the Intangible
Cultural Heritage items.
In order to engage the community and to raise public awareness of the territory-wide survey, the HAB
submitted a paper to the Legislative Council Panel on Home Affairs on 20 March 2009, informing
members of the Government’s plan to conduct a territory-wide survey of ICH in Hong Kong, as outlined
above, and to invite members’ suggestions on how to engage the general public in the course of
Legislative Council Panel on Home Affairs, “Summary of the findings of the pilot study on Intangible Cultural
Heritage (ICH) in Hong Kong by the Hong Kong University of Science and Technology and a full list of
Guangdong's provincial ICH items and the list of the 34 items relevant to Hong Kong provided by the
Administration,” (Chinese version only) 8 May, 2009,
(http://legco.gov.hk/yr08-09/chinese/panels/ha/papers/ha0320cb2-1379-1-c.pdf).
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308 Learning and Teaching Resource Pack for Secondary History Curriculum
conducting this territory-wide survey.4
Although a few local academic institutions had expressed interest in the territory-wide survey, only
one submitted a tender document. Subsequently, in August 2009 the South China Research Center of the
Hong Kong University of Science and Technology (HKUST) was awarded the tender to conduct the
survey of Area B, a survey to be completed within 18 months. At the end of 2009, the survey team
submitted a desk-top research report and a working plan for the field survey. The desk-top report provided
a tentative inventory of some 280 local ICH items compiled from both published and unpublished
documentary sources available in local research institutions. The working plan outlined the methodology
and the schedule of the field survey to collect the necessary research data on the 280 items listed in the
tentative inventory. To ensure full recording of the activities and oral history interviews with the heritage
bearers, the survey team emphasized that it would adopt a “Participant Observation” research approach to
the field work and that the field work would only be undertaken by researchers with experience in
“Qualitative Research.” These two documents were thoroughly discussed and endorsed by the ICH
Advisory Committee during its third committee meeting in January 2010.
In order to arouse public interest and enlist the support of the local community in the territory-wide
survey, the South China Research Center and the Hong Kong Heritage Museum established websites and
prepared posters and pamphlets to promote the survey. Local communities, groups and individuals were
encouraged to make suggestions and provide information regarding any ICH items they considered
valuable by providing information on a pre-printed survey form which could also be downloaded from the
website. Moreover, from February to April 2010 representatives from the Center and the Heritage Museum
attended meetings of the nine District Councils in survey Area B and of the Heung Yee Kuk to introduce
the territory-wide survey and to enlist the support of the Councils and Kuk members. These individuals
were well acquainted with local traditions and heritage, particularly in the New Territories.
Meanwhile, the Government had been working on the re-tendering of Survey Area A, and once more
the only tender submitted was from HKUST’s South China Research Center. Subsequently, the survey for
Area A commenced in July 2010, with completion expected within the first half of 2012. As before, from
November 2010 to January 2011 representatives from the Center and the Heritage Museum attended
meetings of the nine District Councils in survey Area A, to introduce the survey and invite members’
suggestions. Responses from the community were encouraging, as the Center had received some 70
completed survey forms by the end of 2010, providing very useful information on various ICH items for
the survey team to follow up. The HAB submitted another paper to the Legislative Council Panel on
Home Affairs on 11 February 2011 to inform members of the progress of the territory-wide survey.5
Inscription of Items on the National List of ICH in China
In March 2005, the State Council issued the “Directives on Enhancing the Work of Intangible Cultural
Heritage Protection” (關於加強我國非物質文化遺產保護工作的意見). 6 This directive document
promulgates the establishment of a listing system of representative items of ICH at respective national,
provincial, municipal and county levels. This national list would be approved and announced by the State
Council every two years. The first national list of 518 representative items of ICH was announced in May
2006, which included Cantonese Opera and herbal tea drinks (凉茶), both items jointly nominated by
Legislative Council Panel on Home Affairs, “Territory-wide Survey on Intangible Cultural Heritage in Hong
Kong,” 20 March 2009, (http://www.legco.gov.hk/yr08-09/english/panels/ha/papers/ha0320cb2-1090-1-e.pdf)
5
Legislative Council Panel on Home Affairs, “Progress Report on the Territory-wide Survey of Intangible Cultural
Heritage in Hong Kong,” 11 February 2011,
(http://www.legco.gov.hk/yr10-11/english/panels/ha/papers/ha0211cb2-957-3-e.pdf).
6
Guowuyuan Bangongting, “Guanyu jiaqiang woguo feiwuzhi wenhua yichan baohu gongzuo de yijian,” Wang
Wenzhang bian,Feiwuzhi wenhua yichan gailun (Beijing: jiaoyu kexue chubanshe, 2008), 317-319.
4
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References
309
Guangdong, Hong Kong and Macau. The second batch of 510 representative items was announced in June
2008. The third batch of representative items to be inscribed onto the national list was scheduled to be
announced in June of 2010.
On 17 July 2009, the Ministry of Culture (MOC) issued a “Notice on Matters Concerning
Applications for Inscription on the Third National List of Intangible Cultural Heritage in China” (《文化部
關於申報第三批國家級非物質文化遺產名錄專案有關事項的通知》 ) which called for applications for
the third batch of ICH items for inscription onto the national list. In addition, the MOC issued a letter to
the HAB on 22 July 2009, inviting Hong Kong to make applications for inscription. The deadline for
applications was 30 September 2009. In order to raise the visibility of local ICH and after consultation
with local experts, the HAB decided to submit an application for inscription of four local ICH items onto
the third national list, this application serving as a trial attempt for establishing a more comprehensive
selection and application mechanism in the future. These four items were: the Jiao-festival of Cheung
Chau, the dragon boat water parade of Tai O, the fire dragon dance of Tai Hang, and the Yu Lan Ghost
Festival of the Hong Kong Chiu Chow Community. These events fit within the category of "social
practices, rituals and festive events", as defined by the Convention for the Safeguarding of Intangible
Cultural Heritage, and have been preserved from generation to generation within the community for more
than a hundred years. In view of the tight schedule for submission, experts from local universities were
commissioned to prepare the application document and the 10-minute video for each item. The documents
were then examined by a five-member expert panel appointed by the HAB. The panel considered that the
four items all had outstanding historical and cultural value, had been transmitted from generation to
generation with great impact on the community, and were representative illustrations of the creativity of
Chinese culture, thus meeting the criteria for inscription onto the national list. The panel unanimously
recommended the proposed applications, which were submitted to the MOC towards the end of September
2009. The application was widely and enthusiastically reported in local media.
While the formal announcement of the third national list by the State Council had not yet been made,
in 2010 the Hong Kong Heritage Museum collaborated with local experts and with the organising bodies
of the four ICH items, to present an exhibition as well as a series of talks and visits, with a view to
enhancing the public's understanding of these four ICH traditions in Hong Kong. To further protect and
promote these four items, and to increase students’ knowledge of folk traditions and their sense of
belonging to the community, the Government plans to join hands with the organising bodies to organise
workshops on folk culture for primary and secondary school students in selected districts. It also plans to
invite scholars to design and conduct research project for collecting comprehensive information on these
items, and to enhance the public’s understanding of these ICH items through publications and exhibitions.
It is envisaged that more local communities and organisations will work with the Hong Kong Government
in a concerted effort to preserve local ICH.
Inscription of Cantonese Opera on the UNESCO’s Representative List
According to article 16 of the Convention, the “Representative List of the Intangible Cultural Heritage
of Humanity” should be established to enhance the visibility of Intangible Cultural Heritage around the
world. At its second session in June 2008, the General Assembly of the States Parties to the Convention
adopted the Operational Directives for the implementation of the Convention, which were further
amended at its third General Assembly in 2010.7 The Operational Directives spell out, among other things,
the criteria and procedures to be followed for inscribing intangible heritage on the two lists of the
Convention, i.e. the List of Intangible Cultural Heritage in Need of Urgent Safeguarding and the
UNESCO, “Operational Directives for the Implementation of the Convention for the Safeguarding of the
Intangible Cultural Heritage," 24 June 2010,
(http://www.unesco.org/culture/ich/doc/src/ICH-Operational%20Directives-3.GA-EN.doc).
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310 Learning and Teaching Resource Pack for Secondary History Curriculum
Representative List of the Intangible Cultural Heritage of Humanity. UNESCO then called for the first
submission for inscription to be submitted by the end of September 2008. The Guangdong, Macao and
Hong Kong governments then jointly submitted an application via the Central Government to UNESCO
for the inscription of Cantonese Opera which was officially inscribed onto the UNESCO Representative
List of the Intangible Cultural Heritage of Humanity in September 2009, making it the first item of the
World Intangible Cultural Heritage in Hong Kong.
The inscription of Cantonese Opera on UNESCO’s Representative List has succeeded in raising the
visibility of Hong Kong’s ICH and has been met with much enthusiasm from the Cantonese Opera sector
and the general public alike, who demand that the Government should put forward further measures for
the protection and development of Cantonese Opera. In a paper submitted to the Legislative Council Panel
on Home Affairs on 13 February 2009,8 the Government clearly set the following six policy objectives to
provide continued support to the preservation and development of Cantonese Opera:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
To develop performance venues for Cantonese Opera;
To nurture Cantonese Opera professionals, preserve the tradition and promote creative works;
To promote Cantonese Opera education, audience building and community participation;
To foster cooperation among Guangdong, Hong Kong and Macao, and promote cultural
exchange;
To preserve the essence of Cantonese Opera and showcase treasures of our cultural heritage;
and
To promote Cantonese Opera as a major tourist attraction.
The Government fully understood the importance of adequate resources for the development of
Cantonese Opera and so established the Cantonese Opera Advisory Committee in 2004 and the Cantonese
Opera Development Fund in 2005. By 2010, the Fund had granted nearly $30 million to support more than
300 projects. The Government also supports the development of Cantonese Opera through other measures.
These include support by the Leisure and Cultural Services Department (LCSD) to about 500 Cantonese
Opera and operatic singing performances each year; the funding of performance, education, promotion
and other development projects by the Hong Kong Arts Development Council; and the subsidy by the
Home Affairs Bureau for Cantonese Opera programmes organised by the Hong Kong Academy for
Performing Arts. During the financial year 2010-11, the government injected a sum of $69 million for
implementing further safeguarding projects for Cantonese Opera, which included a three-year subsidy for
the project, Hong Kong Cantonese Opera Troupe for New Talents, to promote promising young artists.
To provide more performance venues for Cantonese Opera, the Government not only introduced
priority booking systems at LCSD venues, but is also developing venues of different scales to meet the
development needs of Cantonese Opera. The relevant projects include conversion of the former Yau Ma
Tei Theatre and its adjacent Red Brick Building into a small theatre dedicated for traditional operatic
performances; the construction of a medium-sized theatre and practising rooms at the Annex Building of
the Ko Shan Theatre in Hung Hom; and the building of a large theatre, a small theatre and practising
facilities in the Xiqu Centre of the West Kowloon Cultural District. All these initiations are to provide
permanent Cantonese Opera performance venues for professional performances.
To further research and promote Cantonese opera, the Hong Kong Heritage Museum (HKHM) has
collected many different treasures of Cantonese opera, including contracts, librettos, postbills, photographs
Legislative Council Panel on Home Affairs, “The Development of Cantonese Opera and other Chinese Xiqu and
the Sunbeam Theatre as a Venue for Cantonese Opera Performances," 13 February 2009,
(http://www.legco.gov.hk/yr08-09/english/panels/ha/papers/ha0213cb2-818¬4-e.pdf).
8
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References
311
of Cantonese Opera artists, newspapers, lyrics, costumes, stage appliances, musical instruments, painted
faces and records. The museum also conducts video documentation of traditional plots of Cantonese Opera.
Over 28 performances on traditional Cantonese Opera plots have been recorded so far. Apart from the
permanent display within the Cantonese Opera Heritage Hall, the HKHM also organizes thematic
exhibitions such as “Fong Yim Fun: Life and Work of a Female Cantonese Opera Artist,” “A Synthesis of
Lyrical Excellence & Martial Agility,” “Majestic Stage: The Story of Cantonese Opera Theatres,” and
“Splendour of Cantonese Opera: Masters Tong Tik Sang and Yam Kim Fai.” Free programmes on
Cantonese opera and extracts of performances are also staged in the museum theatre every Saturday and
on alternate Sundays.
Community Involvement
The 2003 Convention recognizes that ICH safeguarding must focus on practices and processes rather
than on products, and that the practitioners and custodians of ICH must play a central role in the measures
for safeguarding. The need to involve communities, groups and, sometimes, individuals in safeguarding
their ICH has been emphasized in several articles of the Convention. For instance, Articles 2.1 and 11
require that the communities, groups and, sometimes, individuals should participate in recognizing,
identifying and defining their ICH, while Article 13 encourages State Parties to ensure access to ICH
while respecting customary practices. Article 15 calls upon States Parties to ensure the widest possible
participation of communities, groups, and, where appropriate, individuals in safeguarding their ICH.
Accordingly, the Hong Kong Government has adopted a multi-pronged approach for implementing the
Convention in Hong Kong. Apart from financial and human resources provided by the Government for
implementing the safeguarding measures (covering in-depth research, education, promotion, and
application for inscription and transmission, local), communities and organisations are encouraged to
participate and to support the safeguarding measures in an concerted effort to preserve local ICH. 9
In order to involve the community in the territory-wide survey and in the making of the inventory in
2010, the representatives of the Hong Kong Heritage Museum and the South China Research Center
attended the meetings of the 18 District Councils and of the Heung Yee Kuk to explain the details of the
survey and to invite the councilors to assist in suggesting local ICH items which were of significant value
for the survey team to follow up. Moreover, the survey has been widely publicised through various
channels, such as press releases, posters, leaflets and websites. Over one thousand letters have been sent
out to non-government organisations and local associations, including clansman associations, business
associations, kaifong welfare associations and residents’ associations, inviting them to provide information
on the ICH. Reporting forms have also been prepared to facilitate the submissions from the public and
from local associations. Public response has been encouraging, as nearly 70 completed forms have been
received. The survey team will contact the informants or associations concerned for follow-up work.
Apart from the efforts of the Government, it is encouraging to see that some local communities are
becoming actively involved in promoting their own intangible traditions. For example, the Cheung Chau
Rural Community is keen to promote the traditional festivals of Cheung Chau such as the Hung Shing
Festival, the Tin Hau Festival, the Yu Lan Ghost Festival and the famous annual Jiao-festival as well. The
Cheung Chau Rural Community is also the driving force behind including the Jiao Festival of Cheung
Chau for inscription onto the third national list of ICH in China. Likewise, the Chiu Chow Communities
in Hong Kong are also very keen to preserve and promote their own Chiu Chow traditions. For decades,
they have attached great significance to the traditional Yu Lan Ghost Festival, organizing more than 60 Yu
Lan festive activities in various districts in Hong Kong throughout the seventh lunar month of the Chinese
Legislative Council Panel on Home Affairs, “Progress Report on the Territory-wide Survey of Intangible Cultural
Heritage in Hong Kong,” 11 February 2011,
(http://www.legco.gov.hk/yr10-11/english/panels/ha/papers/ha0211cb2-957-3-e.pdf)
9
312 Learning and Teaching Resource Pack for Secondary History Curriculum
calendar. Recognizing the need to preserve their own traditions, the Chiu Chow Communities have played
leading roles in conducting research and preparing the application document and related materials for
inscribing the Yu Lan Ghost Festival of the Chiu Chow Community in Hong Kong onto the third national
list. Other safeguarding measures that the community is planning include collecting artifacts and historical
documents, conducting more in-depth studies, organizing an international conference and creating
publications to promote their Yu Lan festive activities. Furthermore, during the last few years, the Hau
clan in Sheung Shui has been keen to promote its traditional Hung Shing Festival. (Figure 8) To celebrate
the centenary of its Hung Shing Temple Fair in Ho Sheung Heung Village in 2011, the Hau clan organized
a 5-day festive programme which included Cantonese opera performances, lion and dragon dances,
Chinese martial arts shows, a floats parade, free basin meals for visitors, and most importantly, the
scrambling for fa pao (Flower Cannon) competition. The Temple Fair was widely covered by local media
and attracted thousands of visitors. The Hau clan is also planning to make application for inscribing its
Hung Shing Temple Fair onto the national list of ICH in China. This suggests that the inscription of ICH
items on the national list and on the UNESCO’s Representative List is becoming more popular among
local communities and the success in inscription will serve as a significant means through which to engage
the communities in safeguarding their own ICH traditions.
The paper was cited from LIU Tik-sang edited, Intangible Cultural Heritage and Local Communities
in East Asia (Hong Kong: South China Research Center, The Hong Kong University of Science and
Technology, and Hong Kong Heritage Museum, 2011), pp. 121-133.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References
313
Examining the Direction of Preserving
Hong Kong’s Intangible Cultural Heritage:
A Case of Hong Kong Cheung Chau’s Jiao Festival
CHOI Chi-cheung & MA Muk-chi
Department of History
The Chinese University of Hong Kong
Summary
Most items listed as masterpieces of Intangible Cultural Heritage, as registered by UNESCO, are
related to festivals. By “festivals” we mean the public display of tradition and confirmation of the space in
which culture is represented. The time and space relevant to people and the interaction between tangible
and intangible elements must be considered when the subject concerns the transmission and preservation
of Intangible Cultural Heritage. The Cheung Chau Jiao Festival can provide a good example.
Cheung Chau Island is located in the southwest of Hong Kong Island, close to the mouth of the
Pearl River. Thus, it developed a prosperous industry for fishing and related businesses. However, the
living status of Cheung Chau’s residents was greatly affected by the decline of the Hong Kong fishing
industry in the 1970s, and by the late 1980s, young people were forced to go to urban areas of Hong Kong
to earn money. Today, the local economy of Cheung Chau is highly dependant on tourism.
The old market of Cheung Chau includes Pak She Street, San Hing Street, Tai Hing Street, Chung
Hing Street, Hing Lung Street and the backstreets running parallel to these five streets. Both Huizhou and
Chaozhou people reside in Pak She and San Hing Streets while Guangfu people live in Tai Hing, Chung
Hing and Hing Lung Streets. The boat people are centered in Sai Wan, in the extreme southwest corner of
Cheung Chau.
It is said that the Cheung Chau Tai Ping Qing Jiao was originally held in Taipingshan Street on
Hong Kong Island to eliminate plague. The purpose of the Jiao festival was to purify the community and
make sacrifices to the god (focusing on Pak Tai) for greater peace. This three-day festival is held every
year within the old market during the early part of the fourth lunar month. The administrative organization
of the Jiao Festival was the “Management Committee of the Jiao Construction” whose members were the
Huizhou and Chaozhou people. In 2004, the “Management Committee of the Jiao Construction” was
replaced by the “Cheung Chau Tai Ping Qing Jiao Management Committee of Hong Kong” whose
members were not restricted by their place of birth. This demonstrates that the Tai Ping Qing Jiao has been
transformed from a festival representing a specific ethnic group to an activity for all Cheung Chau
residents.
314 Learning and Teaching Resource Pack for Secondary History Curriculum
Alongside the religious and holy parts of the festival, the giant god statues and bun towers are the
most significant cultural symbols of the Cheung Chau Tai Ping Qing Jiao. The bun scramble and the
parade of deities are the most representative activities within the Tai Ping Qing Jiao. However, both
participants and cultural symbols have continuously changed in different historical periods. For instance,
the bun scramble was banned by the Hong Kong government because bun towers once fell down in
In order to develop Hong Kong tourism, in 2005 the government and local elites promoted the holding
the new bun scramble, resulting in its recovery as a competition. Under this situation, both the religious
meaning and the function of building community identity represented by the original bun scramble were
ignored. The investment of outside resources and the involvement of the Hong Kong government could
longer instruct common citizens and overseas tourists in the understanding of the Cheung Chau Tai Ping
Qing Jiao Festival. Therefore, the display of the festival varies in concert with the changing people and
historical process of the community. The preservation of the festival, as an example of Intangible
Heritage, should indeed be the preservation of an energetic and creative community and its people.
Based on the case of the Cheung Chau Tai Ping Qing Jiao, we suggest that the focus of
is to understand the cultural center at different historical times and spaces. As the participation of various
generations is the best method to learn the culture, we propose to establish a “Cheung Chau Tai Ping
Jiao Preservation Plan Committee” which should be composed of the Cheung Chau Tai Ping Qing Jiao
management committee of Hong Kong, the Cheung Chau Rural Committee, the Huichao Limited
Company, and representatives from the entire neighborhood and from the community organizations of
Cheung Chau. The committee should also include scholars and experts in Hong Kong folk culture and
officers of relevant cultural departments of the Hong Kong Government. The conservation should
both research and activity. The research part has two segments. The first is the collection of and research
plans for local archival documents. The second is the oral history plan for collecting the recollections of
“Cheung Chau traditional cultural life”. Regarding the activity aspect, this should focus on establishing
the “Cheung Chau Museum of Ethnology” and the “Workshop of Cheung Chau folk culture.”
we argue that cultural preservation should balance the following three respects: negotiation with related
governmental departments for the means of preservation, the ensuring of abundant funding to support
preservation plan, and the systematic collection and sorting of documents and the creation of a database.
The paper was cited from LIU Tik-sang edited, Intangible Cultural Heritage and Local
Communities in East Asia (Hong Kong: South China Research Center, The Hong Kong University of
Science and Technology, and Hong Kong Heritage Museum, 2011), pp. 295-297.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References 315
Subtitles of the Video Clip Cheung Chau Jiao Festival
The island of Cheung Chau (長洲) situates about 16 kilometres southwest of the Hong Kong Island. It
has an area of about three square kilometers. There are two small hills of about 100 metres high on its
north and south sides, linked by a long, narrow alluvial plain in the middle. Back in the reign of Qianlong
(乾隆), Cheung Chau was already a major market of the Xin’an (新安) county, as well as a major fishing
centre. Residents on the island were mainly involved in fishing and other related vocations. Nowadays,
Cheung Chau has become a hot spot for tourist and leisurely activities. With about 23,000 residents on the
island, it has become the most densely population outlying island of Hong Kong.
Cheung Chau’s old market covers mainly the Pak She Street (北社街) and the San Hing Street (新興
街). The residents there are mainly the Huizhou and Chaozhou people. The Cantonese live mainly in the
Tai San Street (大新街), Chung Hing Street (中興街) and Hing Lung Street (興隆街). The boat dwellers,
also called the “Tanka people” (蜑家人), are mainly found in Sai Wan (西灣) on the southwestern tip of
the island. Every year, in the fourth month of the lunar calendar, all residents of Cheung Chau participate
in the “Tai Ping Ching Chiu” (太平清醮) (pinyin: Tai Ping Qing Jiao; lit. “Purest Sacrifice Celebrated for
Great Peace”), i.e., the Jiao(Dajiao) Festival, which is held mainly in the market area.
Before the 20th century, there were already four “fellow villagers associations” in Cheung Chau, of
which the “Hui Chao Fu” (惠潮府; lit. “Huizhou and Chaozhou Prefectures Association) could be
considered the earliest one. The “Pak Tai Temple” (北帝廟; lit. “Northern Emperor Temple”) was founded
in the name of “Hui Chao Fu”. It is said that in 1777 (the 42nd year of the reign of Emperor Qianlong), a
Huizhou merchant brought to Cheung Chau the incense and candle of Pak Tai (北帝, i.e. the Northern
Emperor deity in Taoism) from the Xuan Wu Mountain (玄武山) in Lufeng of Guangdong, and in 1783
(the 48th year of the reign of Emperor Qianlong), some Huizhou and Chaozhou people proposed to
construct the temple.
Although the worship of Pak Tai in Cheung Chau originated among the people from Haifengand
Lufeng, they had the support of the Cantonese when they carried out extension of the temple in early 20 th
century. Since then, the right to offer sacrifices in the Pak Tai Temple and to control it was equally shared
by the Huizhou people, the Chaozhou people, and the Cantonese. They take turns to take charge of the
annual devotional Cantonese opera (神功戲). In addition, Pak Tai gradually became accepted by people in
Cheung Chau, and became their guardian deity. The Jiao (Dajiao) Festival, with Pak Tai being its central
figure, also became the most important annual event that all residents of the island participate in.
316 Learning and Teaching Resource Pack for Secondary History Curriculum
There are various legends regarding the origin of the Jiao(Dajiao) Festival in Cheung Chau. Huizhou
people of the older generation recalled that the Jiao(Dajiao) Festival of Cheung Chau originated in the Tai
Ping Shan Street (太平山街) on Hong Kong Island. In about the end of 19th century, due to the bubonic
plague, residents on the Tai Ping Shan Street held the “Tai Ping Ching Chiu” rituals that centred around
Pak Tai in order to avert calamities and release dead souls from suffering. Later, they moved the event to
the Pak She Street of Cheung Chau, which was also inhabited by the Haifeng and Lufeng people.
Each year, the Jiao(Dajiao) Festival is held for three days in the early part of the fourth month of the
lunar calendar. By convention, Taoist ritual masters ( Taoist priests 喃嘸師傅) from Hailufeng (i.e.
Haifeng and Lufeng) are employed to conduct the rituals. On the day before the Jiao(Dajiao) period, poles
with streamers are erected to confirm the boundary of Jiao(Dajiao) area, to which the deities are then
invited to come. The residents then clean the neighborhood with water. In the evening, the ritual masters
carry out rituals such as “purifying the altar” (淨壇) and “consecration” (開光). Before midnight, the altar
is set and opened (啟壇), which signifies the commencement of the Jiao event.
During the Jiao(Dajiao) period, the Taoist ritual masters perform the Jiao(Dajiao) rituals (醮儀) every
morning, afternoon and evening on behalf of the residents by saying repentance to the deities and
requesting them to forgive the villagers for the sins they have committed.
As a fishing community, marine safety is extremely important to Cheung Chau. Therefore, the ritual of
“feeding the water ghosts” (祭水幽) is performed on the second evening for the sake of feeding dead souls
and relieving them from suffering. At the same time, the “welcome the sacred ones” (迎聖) ritual is
performed inside the bamboo sheds for making offerings, and the Jade Emperor and various deities are
invited to enjoy the items for sacrificial offering.
On the third morning, the “sending off the flower boats” (遣船) ritual is performed by the Taoist ritual
masters, who order the paper merit-recording envoy to send paper boats that symbolize dirty things and
ducks that represent “bad luck” to the sea, thus signifying the removal of impurity and bad luck. The next
is “distributing talismans” (頒符), a process in which the Taoist ritual masters hand out to the residents
sheets of paper with magic characters written in cock blood as charms to ensure their safety. In midday of
this third day, the Composite-scene Parade (會景巡遊) takes place. Led by Pak Tai, deities of other
temples, and the Taoist ritual masters, the procession parade within the Jiao (Dajiao) area to placate evil
ghosts and eradicate diseases. During the night, the “great offering to the wandering spirits” (祭大幽) is
held, during which the Taoist ritual masters offer sacrifice to wandering spirits on behalf of the residents
and salvage them from the underworld with their supernatural power. After the ritual has ended, the Ghost
King (大士王) is sent off by burning his effigy. “Great offering to the wandering spirits” is the climax of
the annual Jiao (Dajiao) rituals. The buns on the bun towers (包山) can bring safety because the Taoist
ritual masters have chanted scriptures and exercised magic power on them. When this “great offering to
the wandering spirits” ritual is over, the residents will rush forward to “snatch buns on the bun towers”
(搶包山). The next day, a second Composite-scene Parade is held, during which the deities are sent back
to various temples. By tradition, the Hailufeng Bai Zi opera (Hoklo Opera 海陸豐白字戲) is performed.
The Jiao (Dajiao) Festival officially ends when the opera ends.
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References 317
In addition to the traditional Hailufeng folk Taoist rituals, there are various traditional folk performing
arts, such as “ Parade of floats” (飄色), qilin dance, lion dance, paper craft, and Cantonese opera. There is
also bun-snatching on bun towers, an event unique of Cheung Chau. All these are demonstrated in the
Jiao(Dajiao) Festival each year.
Regarding folk crafts, the making of the paper items needed in the Jiao(Dajiao) Festival have always
been done by craft masters from the Hailufeng region. The most important paper craft items are the three
giant deity statues of Ghost King, the Earth God (土地公) and the Mountain God (山神), which are about
five metres tall.
The three 18-metre-tall giant bun towers are indispensible in the Cheung Chau Jiao(Dajiao) Festival.
The bun towers have always been built by the Hailufeng people on the island. They make use of
traditional folk craft and build the tall bun towers with bamboo poles and China Fir. ([Mr. CHAN-lam(陳
林) / bun tower building craft master] Interview with craft master CHAN-lam with fifty years of bun
tower building experience: 30 seconds. 22:00 – 22:11 and 22:41 – 23:04. “When making the bun towers,
the materials are moved to here first. I’ll start work today. First, I’ll go to worship Pak Tai, and begin work
after that”. “After erecting the bun towers, we’ll paste paper (on the bamboo structure), then we’ll place
the buns on the structure. After that, the Taoist ritual masters will do the consecration by chanting
scriptures in front of the bun towers. The building process is complete when the chanting finishes.”
(Interview with CHAN Kam-yun (陳金源), son of craft master CHAN-lam , 10:20 – 10:37. “I’ve
seen dad do the craft for several decades. He is so willing to do this traditional craft. Seeing that he’s
become old, and wishing that the craft would pass on to younger generations, I try my best to learn it, in
the hope of keeping it.”
The craft has lost its economic benefits. The three generations of the Chan family keep passing it on
mainly out of their sense of identity to the community they belong to. They feel responsible for
contributing to the preservation such a unique cultural tradition of Cheung Chau.
The original intention of Composite-scene Parade is to clean up the community by having Pak Tai
leading various deities and Taoist priests to patrol the region. What made “fluttering colours” (colour
floats) emerge in later days? (Interview with Mr. CHEUNG Chik-fan (張植芬), the craft master who made
the “floats” of Nan She (南社), 01:42 – 02:07. “If there was just the god worshipping rituals in the Jiao
(Dajiao) Festival, the mood of the streets would be much less lively. So, to make the Jiao (Dajiao) event
appear more important and the kaifongs pay more attention to it, the residents started to hold some events
to cheer up the atmosphere. At the beginning, there was only the lion dance. We didn’t yet think of
“floats”).
In early 20th century, residents of the Pak She and Nam She went to Foshan in Guangdong to learn
making fluttering colours (colour floats), and they introduced fluttering colours (colour floats) into the
Composite-scene Parade of the Jiao (Dajiao) Festival. This will enhance its attractiveness. Now, the
Composite-scene Parade has become a key event for tourists spectators of the Jiao (Dajiao) Festival.
318 Learning and Teaching Resource Pack for Secondary History Curriculum
(Interview with Mr. LEE Kin-ting (李見定), Deputy Executive Director of the Pak She Street Kaifong
Association, 19:40 – 20:04. “The parade brings people together. Even those (Cheung Chau residents who
have moved to) in Hong Kong will return to Cheung Chau. This is cohesion; the power of cohesion. At the
same time, this is my street, to which I have a sense of belonging. I want the “ floats” from this street to
be the most beautiful. In that case I can show off around.” 20:56 – 20:03 “I’m persistent. I hope these
young people would participate, so that this event will continue .”
(Interview with Professor CHOI Chi-cheung (蔡志祥), Department of History, Chinese University of
Hong Kong, 01:40. “An important point about the Jiao (Dajiao) Festival of Cheung Chau is that it is a
festivity that has been held each year for more than a century without interruption. The festival comprises
various folk customs and religious performing arts. Most importantly, it unites all residents in Cheung
Chau into a unity. It is a very important festival. Why do we say that it is facing a crisis? The reason is
simple. We don’t know how it’s changing. Culture and folk customs are bound to change. If we just see its
current condition, we won’t know what changes it undergoes, and what remains unchanged. Therefore,
under such circumstances, I think what we need to do is to conserve this process of change by recording it
with various media, texts and images. Only then are we able to know what this important festivity that
unites Cheung Chau is, and how it has transformed into its current form. Only then can this cultural
heritage be preserved.”)
In the 1970s, along with the decline of Hong Kong’s fishing industry. many Cheung Chau residents
chose to move to make a living in the urban area. In the 1980s, Hong Kong’s industry moved northwards
as the mainland of China carried out its reform and opening-up. As a result, small-scale industry on the
island also disappeared. When the residents of Cheung Chau insist on organizing the Jiao (Dajiao) Festival
annually in order to maintain their local culture, they are inevitably confronted with the predicament of
shortage of resources and reduction in scale of the event and the rituals. (Interview with Mr. YUNG
Chi-ming (翁志明), Chairman of the Cheung Chau Committee, 05:18 – 05:31. “During those days it was
very difficult to organize the Jiao (Dajiao) Festival. People couldn’t make a living, and they had to leave
Cheung Chau to work. It was hard for them to take leave and come back to Cheung Chau.”
Entering the 21st century, the government inscribed traditional festive events onto the list of key
development items for the sake of developing tourism in Hong Kong. (Interview with Dr. TING Sun-pao
(丁新豹), former Chief Curator of the Hong Kong Museum of History, 1:30. Now people talk about the
Jiao (Dajiao) Festival (in Cheung Chau) as if it comprises only activities such as the Composite-scene
Parade and the bun towers. Therefore, what we should concern about is to introduce the features of this
event to those who go to visit it, and how it is related to the Cheung Chau community. We must make
these clear to people, so that they know the meaning behind the event when they enjoy seeing it. At the
same time, the event is a tradition of over a hundred years. It is indeed a very precious intangible cultural
heritage of Hong Kong.)
Case Study of Local Heritage Studies: Cheung Chau Jiao Festival • Teachers’ References 319