Festivals and Celebrations
For Chinese, Lunar New Year is an important festival, but to the Thai-Teochew people in Hong Kong, that pales in comparison to Songkran and Yu Lan Festival. Songkran, which takes place in April, is known as Thai New Year, during which people would splash water on each other as a form of blessing. Thais in Kowloon City hold the Hong Kong version of Songkran. They put on new clothes, bathe and worship the Buddha, and smear white powder and splash water on passersby. In December, on King Bhumibol’s birthday, the Thai community in Kowloon City also celebrates with traditional song and dance performances and special snacks.
Yu Lan Festival, which takes place in the seventh month in the lunar calendar, is a festival of the Teochew community, jointly organised by shop owners and residents. There are two Yu Lan Festivals in Kowloon City: Carpenter Road Park and Argyle Street Playground. Among the many activities are rituals for deities and wandering ghosts and Teochew opera. Yu Lan Festival is not as terrifying as some might think. It is more like the Day of the Dead in the West and is a big carnival. As another example of Teochew people’s dedication to traditional culture, Ancestral Worship of the Kwok Clan in Kowloon City is organised every year to commemorate the birth of their first ancestor.
/07 對華人來說,農曆新年是重要節日,但居港的泰 潮族群則有更重要的節日要過──潑水節及盂蘭 節。每年4月的潑水節,被稱為泰國新年,泰國 人在過年期間會以水互潑對方,有祝福之意。九 龍城的泰國人,會舉辦港版潑水節,他們穿上新 衣,沐浴禮佛,向街上的途人抹上白粉及潑水, 全民同樂。而每年12月的泰王誕辰,區內泰國人 亦會舉辦活動,有傳統歌舞表演、特色小食等, 熱鬧不已。 每年農曆七月的盂蘭勝會,則是潮州人的節日, 由商戶及街坊合力籌辦,有濟貧施孤、普渡亡魂 之意。九龍城有兩場盂蘭勝會,一場是在賈炳達 道公園舉辦的東頭邨街坊盂蘭勝會,另一場是在 亞皆老街球場舉辦的九龍城潮僑街坊盂蘭勝會。 盂蘭儀式眾多,請神、遊神、誦經、獻祭、施 食、派米不在話下,主辦方更搭建竹棚,請來潮 劇團上演神功戲。盂蘭不似坊間所言陰森可怕, 更像是西方的亡靈節,是一場盛大的嘉年華。此 外,有潮州人每年更會籌辦「九龍城汾陽郭氏祭 祖」活動,以記念始祖郭子儀的誕辰,可見潮州 人對傳統文化的執着。
* 受疫情影響,潑水節、盂蘭勝會、汾陽郭氏祭祖已停辦三年。
03. 過節
seventh month in the lunar calendar is said to be when ghosts are free to roam the earth, and many elders would advise against lingering on the streets and staying out late. It is, however, the busiest month for Mrs Ngai Wong Pui Chun, a resident of Tung Tau Estate. Every day would see her leaving home early and returning late at night, going from one Yu Lan Festival venue to another. That is because wherever the Yu Lan Festival is celebrated, there is Teochew Opera for Deities, and Mrs Ngai is both a performer and a leader of a Teochew opera troupe.
人物專訪 Interview 有說農曆七月是鬼門關大開的月份,長輩告 戒不要在街頭流連,要早點回家,但對東頭 邨街坊倪黃佩珍而言,七月卻是全年最忙的 月份,每天總是早出晚歸,在各個盂蘭勝會 會場奔波,因為有盂蘭勝會的地方,便會有 潮州神功戲。她既是潮劇演員,也是潮劇團 團長,這麼重要的日子自是不能錯過。
式微的 盂蘭神功戲 The declining art of Yu Lan Opera for Deities Teochew opera actor: ‘I’m not willing to give it up’
The
「我不捨得放棄 。」 —潮劇演員 倪太 /09
Teochew opera is one of the many regional genres of traditional Chinese opera. It is performed in Teochew dialect and becomes popular in the Chaoshan and Minnan regions. Hong Kong has a sizable Chaoshan population, and Teochew opera is used to flourish here. There were Teochew opera performances during the Yu Lan Festival, the Lantern Festival, and the Tin Hau Festival, and there were many overseas tours as well. Mrs Ngai, now 73 years old, lived through the heyday of Teochew opera and has been witnessing its decline. She has continued her pursuit of Teochew opera because she is ‘unwilling to give up what she loves’.
潮劇是以潮州話演唱的地方戲劇之一,流行於廣 東潮汕與閩南地區,香港潮汕人口眾多,潮劇曾 興盛一時,除了七月盂蘭勝會外,元宵節、天后 誕亦有演出,海外巡迴更是多不勝數。今年73歲 的倪黃佩珍(倪太)見證過潮劇的美好歲月,也 目睹傳統文化日漸式微,但至今仍堅持做潮劇, 因為「不捨得放棄心頭好」。
Mrs Ngai, a Cambodian of Teochew descent, began her theatre career in her father's troupe. Her father was an actor of the chou (clown) role type, her mother was a secondary female character. She started acting in child roles when she was 12 or 13 and became a female lead at around 20. Life was not easy in Cambodia. Peak season meant performing overnight, from 8pm to 5am. In off-seasons, the family carried out small businesses like selling sorbet and joss paper. In 1971, due to the civil war in Cambodia, the family emigrated to Hong Kong. Relatives referred the young Ngai and her sister to the Sing Ngai Chiu Chow Opera Troupe. Upon the completion of her three-year contract, she moved to the Hon Kwong Chiu Chow Opera Troupe as a female lead. There she also met her husband, Ngai Yam, who took over the troupe in 1985 and renamed it Sun Hon Kwong.
Teochew opera was incredibly popular, with fierce competition among different troupes. Operas for Deities at Yu Lan Festivals were particularly coveted jobs, with troupes trying to out-compete one another with bigger bamboo theatres and budgets. Many troupes would then go on halfyear tours encompassing Thailand, Singapore, Malaysia, Indonesia, etc. ‘In 1985, I went to Los Angeles with Chan Chor Wai, who was famous for playing the xiaosheng [young civil male] role. We did seven shows in 21 days. That was probably our most impressive tour.’ In the 1990s, Sun Hon Kwong was invited to perform in Singapore and full house all 30 nights. At its peak, performing in the seventh lunar month would generate enough income for a year. Most of the time, though, there was still a need for other ways to make a living. Mrs Ngai said, ‘I’ve had a job in Lok Shan Road making jeans, and I’ve worked as a factory supervisor in San Po Kong. I’d have starved to death if I’d just waited for that month of acting. But I had a real interest in it, so I carried on.’
她是柬埔寨潮州華僑,自小在爸爸的戲班「老 源正」做戲。爸爸是丑生,媽媽是貼旦,她自 12、13歲開始便演童生,20歲左右擔正做花旦。 柬埔寨生活不易,旺季時晚八至朝五,通宵做 戲,但遇上淡季,家裏便做些小生意,賣沙冰、 金銀衣紙謀生。1971年,柬埔寨內戰,生活過 不下去,一家人移民香港,她與妹妹在親人介紹 下到昇藝潮劇團演戲。三年合約期滿後,她過檔 韓江潮劇團做花旦,認識了丈夫倪欽,丈夫更於 1985年接手戲班,易名為「新韓江」。 早年潮劇盛行,戲班互有競爭,盂蘭勝會的神功 戲更是爭崩了頭,哪個棚較大、錢較多,便搶過 來做。許多戲班做完盂蘭更會拉大隊到泰國、新 加坡、馬來西亞、印尼等地巡迴演出,一去便是 半年。「1985年,我與當時的小生王陳楚蕙到美 國洛杉機做戲,二十一日共七場戲,算是最威風 的一次。」1990年代,新韓江曾受邀到新加坡演 出,三十晚場場爆滿。最風光的時候,農曆七月 做戲的收入足夠一年之用,但大部分時間,還是 要兼其他工作維生。「我在落山道車過牛仔褲, 到新蒲崗做工廠管工,等做戲那一個月會餓死, 但自己有興趣,便繼續做下去。」倪太說。
/11 Performing, making money, supporting the family 做戲、搵錢、養家
She is willing to give up everything for her hobby. In 1999, she retired from acting and became the deputy head of the troupe. When her husband passed away in 2017, she took over as the head of the troupe and looked after all the troupe's affairs. The pandemic meant no Yu Lan festivities for almost three years, which was gutting to Mrs Ngai. This year, the Sun Hon Kwong Chiu Chow Opera Troupe was invited to perform in the Yu Lan Festivals in Tai Kong Po and Cheung Sha Wan. Mrs Ngai took both jobs knowing that she would not make money from them: ‘I’ve rested enough in the past two years, and now I’m going to indulge. I’ve worked in Tai Kong Po for many years; we’re like old neighbours. It doesn’t matter if I lose money.’ In the past, the troupe would hire actors from the mainland on month-long contracts. Now, with an all-local cast, each paid according to the number of performances, the cost has gone up considerably.
After a bit of groaning, Mrs Ngai reached for her phone and said, excitedly, ‘Look, here’s a photo from a performance this year. I was on stage.’ The costumed Mrs Ngai had beaming eyes and a sweet smile, and with her smooth movement as well, she did not seem like the usual 70-something-year-old. ‘If there is a need, I’ll get on stage and perform; if not, I’ll work backstage, helping out with hair and costume. It couldn’t be helped – I’d like to step back and have someone else do it, but hiring is difficult.’ A key feature of Teochew opera is that it is performed in Teochew dialect, which poses a limitation. Very few people speak Teochew dialect and are willing to enter the business, so there is a real issue of succession. The youngest actor in the troupe is in their 50s, and most of the actors are over 60 years old. Child roles are played by actors of a smaller stature. ‘We can’t find any young people to come perform. Even if you find ones, they can’t do it.’
她可以為興趣付出所有。1999年,她退居幕後, 做劇團副團長;2017年,丈夫離逝,她接任團 長,劇團大小事務都要打理。疫情三年,盂蘭 也停辦將近三年,她心心念念,卻無可奈何。今 年,大江埔潮僑盂蘭勝會及長沙灣潮籍盂蘭勝會 都邀請新韓江演出,即使知道賺不了錢她也接下 來做。「這兩年休息夠了,現在要做夠本。我在 大江埔做了很多年戲,是老街坊了,即使蝕錢, 也沒有所謂。」過往七月做戲,戲班會聘請內地 演員來港演出,一簽便是一個月,如今全用上本 地演員,按演出齣數計,成本增加了不少。 呻了兩句,轉頭她打開手機雀躍地說:「你看 看,這是今年的演出照,我有上台。」穿着戲服 的她明眸流轉,巧笑嫣然,動作流暢,一點也不 像70歲老人。「如果有需要,我會親自上場,但 如果不用上場,我會在後台打點,幫人梳頭、着 服裝。沒有辦法啊,我也想退下來,請人去做, 但找不到人做。」潮劇的最大特點是以潮州話演 出,但同時亦是局限,會潮州話而又願意入行的 人少之又少,演員青黃不接。劇團最年輕的演員 已50多歲,其他大多超過60歲,戲中的小孩角 色,只能找個子比較小的演員來扮,「找不到年 輕人來演,就算你找到,他們也不會演。」 It is okay to lose money 蝕吧,沒有所謂!
The downturn of popularity of Teochew opera seems irreversible, and still, Mrs Ngai persists. She would rather pay for storage than give up the troupe’s costumes, headwear, and props.
Every time there is a show, she single-handedly organises the transportation, set, cast, and food. ‘I like to prepare food at home and take it to the theatre because it is cheaper. Think about it: how much will it cost to get takeout for 30-some people? I just make a big batch of bitter gourd with pork belly and pickles and prepare a few chickens, and everyone is very happy!’
Her family members keep advising her not to work so hard, but as they can see how enthusiastic she is – even her hypertension seems to have disappeared – they just let her be. As she says herself, it is great to have shows to do, and the hard work is worth it.
/13
潮劇由盛轉衰,似是無法扭轉的命運,但倪太依 然堅持,劇團的服裝、頭飾、道具等,她花錢租 倉也不願捨棄;每次開戲一人統籌運輸、佈景、 演員,甚至伙食,她忙得不亦樂乎。「我喜歡在 家裏準備好食物,然後拿去戲棚,因為買食材煮 比較平,不然你要買飯盒,你同我計三十多個人 要用幾多錢?苦瓜腩肉、酸菜,我煮一大桶,再 斬幾隻雞,他們已吃得很開心!」 家人常勸她不要那麼辛苦,但看到她興致勃勃, 連高血壓都好像消失了,也由得她。正如她所 說,有戲做便好,再辛苦也值得。 It is great to have shows to do 有戲做便好
There are two Teochew restaurants in Kowloon City that I go more often: Chong Fat and Nam Kee.
I’m from Teochew. When I was little, I lived in Wang Tau Hom, which is now Lok Fu. I’ve lived on Fuk Lo Tsun Road in Kowloon City since I got married. Chong Fat is our family canteen. It doesn’t matter where everyone has moved to; any time there’s a family meal, we go to Chong Fat. My real favourite, though, is Nam Kee. Back then, when I was a kid, Nam Kee was in Wang Tau Hom, and every day the boss would walk barefoot to Kowloon City to get ingredients for the restaurant. Decades later, I still haven’t forgotten the taste of Nam Kee’s fried rice noodle with beef!
九龍城有兩間常去的潮州菜館──創發及南記。 我是潮州人,年幼時住在橫頭磡,即現在的樂富,婚 後一直居於九龍城福佬村道。創發,是家人的飯堂, 不管他們搬到哪裏,家人飯聚,必選創發。但對我來 說,南記才是至愛。年幼時,南記在橫頭磡開舖,老 闆每天習慣赤腳從橫頭磡行去九龍城買餐廳所需的菜 和肉,而南記那時的濕炒牛河味道,也叫我幾十年來 無法忘懷! 1 Reader Contribution / 文 Text:NG SAU MING / 每時每地都有不同的故事發生, 你在社區裏有哪些經歷和回憶?步行徑 現正收集九龍城區的故事,不論是關於 舊區變遷、街坊鄰里,還是生活小事, 都歡迎投稿與我們分享。 Different stories happen all the time everywhere. What are your experiences and memories in the community? We are now collecting stories of the
City District, whether it is about the changes in the old district, the neighbourhood, or the little things of life, you are welcome to contribute and share with us.
Kowloon
/ 文 Text:Ng Lisa /
My knowledge of Thailand used to be limited to tom yum soup and prawn cakes, and I’d go to a Thai restaurant in Kowloon City when I had a craving for them. Then I met my current boyfriend and got to learn more about Thailand. My boyfriend is Chinese and Thai mixed-race. Sometimes, I would learn to make Thai food from his mother. I’ve found that Thai people are very particular about sauces. I’ll have to go to Thai shops more often to learn to recognise the seasonings and condiments. It's hard to make a good sauce, but the result can be incredibly satisfying.
On holidays, we’d go to ‘Little Thailand’ in Kowloon City for lunch and get snacks such as bread with pandan custard and pork skewers. I’ve always been impressed by the business savvy of the Thai people. They use clear plastic bags to pack takeaway food, so there’s no spillage of sauce.
With more contact and understanding, I’ve come to love the friendliness of Thai people and the warmth of ‘Little Thailand’. Having heard more Thai in recent years, I’ve picked up a little bit and can occasionally communicate in simple Thai!
以前,對泰國的認知就只有冬蔭功湯和蝦餅,偶爾想 吃便到九龍城的泰菜館,後來認識現任男友後,對泰 國的認知加深了。男友是中泰混血兒,我間中會跟他 媽媽學煮泰國菜,過程中發現泰國人對汁料十分講 究,要多到泰國店舖走走,認認調味料的氣味,因為 要做一個好的汁料確實不容易,功夫很多,但出來的 效果絕對讓人滿足。 假日我們會到九龍城「小泰國」吃午餐,買泰國小食 如班蘭醬麵包、豬肉串燒等。我一直很佩服泰國人的 生意頭腦,他們會用透明膠袋包裝外賣食品,所以食 物的汁料從不會倒瀉。 接觸多了,認識多了,慢慢地我亦愛上了泰國人的友 善及「小泰國」的人情味。近年聽多了泰文,學懂一 點點,間中也可用簡單的泰語溝通!
2 /15
認識一個城市最好的方法,便是腳踏實地走一趟,不論是街角的盆栽擺設,建築物上 的圖案,空間的佈局,還是店舖的裝潢,都可以是駐足點,甚或是漫無目的地遊走, 感受周遭的環境、氛圍,觸發想像。散步可以很個人,也可以很隨心,傳統舊區如九 龍城,更是漫步探索的好地方。你有喜歡的九龍城散步路線嗎?可有哪個地方讓你特 別放鬆?歡迎與我們分享你的散步日常。 散 步 日 常 下期 預告 Everyday Walking
The best way to get to know a city is by literally walking through it. From potted plants on a street corner, to the patterns on a building, to the layout of a space, to the decorations of a store – any of them can be a point to pause and admire. Even wandering around aimlessly can be a great way to get a feel for the environment and spark your imagination. Taking a stroll can be a personal, spontaneous thing. Traditional old districts such as Kowloon City are wonderful places to stroll and explore. Do you have a favourite route in Kowloon City for a leisurely walk? Where do you feel particularly relaxed? Feel free to share your experience with us.
投稿一經採用,將獲薄酬。 Once your article is accepted, a gift voucher will be given. 立即投稿 Submit Now!
Walking
Next Issue
Last summer, we organised ‘Immersion in Old Kowloon Walled City’. Through a series of site visits, conversations, and interviews, participants deepened their understanding of Kowloon Walled City’s past and present and gathered its residents’ memories. Leveraging also their discovery and use of participatory design thinking, they then turned these stories into scripts for augmented-reality audio stories that would work with the Walking Trail’s hardware facilities.
Interestingly, many participants themselves had come with their own stories. As former residents of the walled city, they see not the city of darkness described by outsiders; instead, they regard the city with plenty of feelings and fondness. To gather more stories, our team also invited interviewees who had lived in the Walled City to share their life. Ah Sun recalled playing carron at the elderly centre and sneaking a peek at erotic dancing when he was a child. The walled city was like a huge playground to him. Another interviewee, Uncle Man, worked in the walled city when he was young and bought property there out of trust in the ‘developer’. Life in the walled city was not all that different from life outside, he said, except for the unstable supply of water and electricity and the poorer conditions.
Participants finally created ten audio stories from the interviews. They hope that the launch of these stories will strengthen the public’s understanding of the walled city.
過去夏天,步行徑舉辦了「迴.眸寨城」活動,以一連串實地考察、對談、訪問等,與參加者深入認識九 龍寨城的今昔變遷與收集居民的回憶,並透過參加者的發掘及活用參與式設計思維,以劇本創作形式改編 故事,再製作成AR語音故事,即將於步行徑的硬件設施中呈現。 有趣的是,不少參加者本身亦帶着故事而來。他們以往曾在寨城居住過,外人眼中的黑暗之城,對他們來 說充滿感情。團隊亦邀請了前寨城居民,與參加者進行訪談。受訪者阿新小時候因為同學們都居於寨城而 常常入去玩,在老人中心玩康樂棋,偷看脫衣舞,寨城對他來說,儼如一個大型遊樂場。另一位受訪者民 叔年輕時曾在寨城工作,因信任寨城的「發展商」而在此置業,他說寨城的生活與外邊分別不大,只是水 電供應不穩定,環境較為惡劣。 參加者根據訪談內容創作了十個寨城故事,並期望語音故事出街後,能加深公眾對寨城的了解,發掘寨城 的其他面向及價值。 活動回顧 Programme Review 迴.眸寨城 一同製作語音故事 Immersion in Old Kowloon Walled City: Creating Audio Stories Together
焦點活動 Focus Programme
躍變.龍城體驗館:九龍譚公道115號運通大廈地下5號舖 Kowloon City in Transformation Information Centre:
Location: Kowloon City in Transformation Information Centre
Class B, D|aged 6 or above and their parents
Target: Class A, C, E|aged 12 or above
Class E|23 Dec (Fri) 15:30-17:00
Class D|9 Dec (Fri) 15:30-17:00
Class C|4 Dec (Sun) 15:30-17:00
Class B|4 Dec (Sun) 11:00-12:30
Date & Time: Class A|30 Nov (Wed) 15:30-17:00
welcome a new year ahead.
Cantonese opera-themed perpetual calendar home to
opera and Ko Shan Theatre. You can also bring your DIY
allows you to explore the culture and history of Cantonese
as well as the Ko Shan Theatre in Hung Hom. This workshop
general public will think of Xiqu Centre and Sunbeam Theatre,
Speaking of venues of Cantonese opera performance, the
Calendar DIY Workshop
日期及時間: A班|11月30日(三)15:30-17:00 B班|12月4日(日)11:00-12:30 C班|12月4日(日)15:30-17:00 D班|12月9日(五)15:30-17:00 E班|12月23日(五)15:30-17:00 對象: A、C、E班|12歲或以上人士 B、D班|6歲或以上兒童及其家長 地點︰ 躍變.龍城體驗館
2023粵劇主題萬年曆DIY工作坊 香港每年有不少粵劇演出,除了較為人熟知的戲曲中心及新 光戲院外,位於紅磡高山道的高山劇場,亦是粵劇的重要表 演場地。是次工作坊將與大家探索高山劇場的歷史及粵劇文 化,一同DIY粵劇主題萬年曆,迎接新一年的來臨。
Programme Recommendation
所有活動免費參加!更多活動及報名詳情,請留意Facebook專頁。 All activities are free to join! For more details, please stay tuned to our Facebook page.
**Bringing your own telescope is welcome.
*Equipment is limited. Activity will be done in groups.
Target: Aged 10 or above, welcome to participate in pair
Location: Kowloon City
Session B|17 Dec (Sat) 15:00-17:00
Date and Time: Session A|9 Dec (Fri) 15:00-17:00
treasure together!
birds you can find? In this winter, let’s dig for this ecological
do bird watching in Kowloon City? What are the common city
bird watching for nature lovers. Is there any place you can
season for migratory birds, but also an optimal season for
In the fourth quarter of the year, it is not only a migration
Kowloon City Bird Watching Tour
Birds in the “City”:
Opening Hours: 11:00-18:00 (Lunch time 13:00-14:00)
Date: 6 Nov to 31 Dec (Closed on Monday)
Transformation Information Centre.
Those entries are now showcased in the Kowloon City in
selected and a total of 9 awards were finally shortlisted.
received around 400 applications this year, 19 entries were
awareness of the public towards community change. We
The Community Photography Competition aims at arousing
2022 Exhibition
Community Photography Competition
the "Dragon City of Light and Shadow"
Shortlisted and
Award-winning entries
Shop No.5, Ground Floor, Wan Tung Building, No. 115 Tam Kung Road, Kowloon 其他精彩活動
踏入秋冬,是候鳥遷居的季節,也是生態愛好者觀鳥的黃金 時期。九龍城有哪些地方可以觀賞雀鳥?常見的市區雀鳥又 有哪些?這個冬天,一同發掘九龍城的生態寶藏! 日期及時間: 第一團|12月9日(五)15:00-17:00 第二團|12月17日(六)15:00-17:00 地點: 九龍城 對象: 10歲或以上,歡迎二人同行 *器材有限,需分組進行活動。 **歡迎自備望遠鏡 「光影.龍城——社區攝影比賽2022」 入圍及得獎作品展
of
城中鳥:九龍城觀鳥體驗團
Kowloon City Walking Trail Kowloon.City.Walking.Trail 電郵 Email:kctwt@skhwc.org.hk 電話 Tel:3183 0928 九龍城主題步行徑辦公室:九龍馬頭涌真善美村低座一樓 Office:1/F, Lower Block, Chun Seen Mei Chuen, Ma Tau Chung, Kowloon
2023 Cantonese Opera Perpetual
日期: 11月6日至12月31日(周一休息) 時間: 11:00-18:00(午膳:13:00-14:00) 地點: 躍變.龍城體驗館 步行徑希望透過社區攝影比賽,鼓勵公眾關心及探索社區。 是次比賽收到約400份參賽作品,最終有19份作品入圍,並從 中選出9個獎項的得獎者。所有得獎及入圍作品現於「躍變. 龍城體驗館」公開展出。
Location: Kowloon City in Transformation Information Centre