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