Cultural Imperatives: February 2016

Monday 22 February 2016

專題籽：港情講趣】
從前，元宵是重要時節，情人相約在綵燈晚會，卿卿我我；原來，在新界圍村，元宵點燈有另一重意思，部份村落會邀請師傅花數天、甚至整個月紮燈，於元宵當日掛在宗祠橫樑，寓意添丁、傳承。過節之前，我們找到四位製燈男，看看他們如何遊走在紮燈工藝與創新之間，讓這個浪漫的傳統節日「傳宗接代」下去。

紮足半世紀　圍村添丁燈

圍村人在元宵節仍有點添丁燈的習俗，因圍頭話「點燈」跟「添丁」是諧音。在沙田小瀝源村，添丁燈一直由吳水勝（水叔）負責製作。水叔現已九十多歲，仍生生猛猛，思路清晰，對話有紋有路，你叫他水伯，還會嫌你話他老。到訪時，水叔正躲在村屋對出的迷你studio，為今年的添丁燈埋尾。

水叔紮了盞迷你添丁燈支架給水嫂留念。八角形底部是水叔的標誌，發發聲好意頭。大鼓位置可拉起更換燈泡。

八角形底部　獨步紙紮界

水叔家族很早已扎根沙田小瀝源村，最初是阿爺紮燈為生。五十多年前，水叔兒子出生，於是自己動手，自學紮成第一盞燈。第二年又有鄰人請他幫手，在寧靜的圍村削竹、紮竹，轉眼已為村落紮了五十多年。水叔聲稱今年是最後一年紮燈，「腰骨痛，坐唔耐。」紮添丁燈非易事，須坐定定做四天，水叔的自家設計難度尤其高，買材料先要跑一趟元朗明泰紙紮舖，又要去油麻地買花紙，近年已交由街坊阿權幫手買材料。然後花兩天紮竹篾做燈身支架，八角形底部是水叔標誌，取「發」諧音。水叔自豪強調，「沙田其他紙紮舖都話紮不到我的八角形，只做到四邊形。」之後用兩天剪花紙，有分梅條、六耳條、八仙窗等設計，須剪得錯落有致，有的呈鋸齒狀，很考功夫。水叔的添丁燈$4,800一盞，比其它店貴兩倍有多，但阿權指：「水叔的裝飾極細緻，外面找不到這番心機及細心，其實好抵。他九十多歲都肯出手，大家會覺得好榮幸。」
有燈就有人，今年村內添了五個男丁，水叔做的五盞添丁燈幾近完工。長春社文化古蹟資源中心副執行總監黃競聰指，本地點添丁燈習俗最早可追溯至嘉慶年代，在《新安縣志》中有記載。點添丁燈當晚，村民多會設宴，目的是告知村長及村民，有新生嬰兒會加入成為村落一分子，名字會寫入族譜。之後男丁可享有村內權利，包括丁權，同時要擔起義務工作，如協助祭祀。在小瀝源村，添丁燈會高掛在祠堂或家中三年，然後燒掉，稱為化燈。添丁燈底部還會綁上生菜、大蒜、銅錢、葱、芋仔、慈姑，取生財、百子千孫、聰明、富貴的諧音。

紮一盞燈需時約四天。支架越細越難做，單是紮迷你竹篾已花了四天，多兩倍時間。九十多歲的水叔表示今年是最後一年紮添丁燈，明年退休。

Mo在觀塘教紮卡通公仔燈。

為呃like　自創摩登卡通燈

平面設計師鄭少武（Mo）亦是紮燈人，無師自通專紮卡通公仔燈，用作座枱燈、地燈、燈籠亦得，近年自立門戶，在觀塘工作室教人紮卡通燈。「坊間有人教做楊桃，但我覺得這種傳統紮作可以玩到更多花款。」最近花二十多小時，紮了個雙手可郁動的小木偶，做工很複雜精細。
Mo紮燈源於五年前，有次想送燈籠𐱁女仔，覺得坊間產品像倒模，遂自行製作，在文具店買了十包燈籠勞作包，左綑右縛，爆發小宇宙做出Hello Kitty燈籠，手作在網上呃到好多like，有朋友提議他開班教人做卡通燈籠。Mo沒有傳統包袱，材料及用法都好破格。傳統多用竹篾及透薄的雪梨紙紮燈，Mo轉用不割手、質地更柔軟的藤芯，並採用厚身又透光的綿紙，夠耐用方便。Mo有感始終都只是自己鑽研，未接觸過最基礎的紮作手藝，於是一直想找水叔學紮燈。

木偶的手部可以上下郁動，因關節沒有紮緊。《Minions》的角色共紮了二十多個小時。特別為元宵製作的天燈，可以在上面寫字。

後生仔半途而廢　憂手藝失傳

元宵前夕，跟Mo去到沙田小瀝源村，隨他入村拜師。Mo有備而來，見到水叔，拿出布甸狗座枱燈讓他評分，水叔起初以為是豬仔，說：「點解有豬頭冇豬尾？你加條豬尾好喎。」新舊兩位紮燈人順道交流，兩人皆無師自通，燈飾風格差天共地，但紮燈技術出奇地似，「我都是打十字結喎！」「試過用膠紙，會甩。」「我都試過，都是紙加漿糊最實淨。」水叔用開竹篾，做出的燈方方正正、起角，拿起Mo用開的藤芯，就知難搞，「藤芯圓柱形好難黏合。」「冇錯，要用膠紙配合。我們作品結構相差好遠，水叔的添丁燈似建築物支架，我的燈飾則以多個圓形組成。」Mo順道話想學，水叔答得爽快，「你肯來我肯教。」但水叔投訴：「之前個個都話想學，但有人學了一兩日就消失。」原來水叔怕手藝失傳，之前收了數個學生，但有的結𕲑後沒有再學、有的學到半途就不見人。
聊得興起，水叔從祠堂拿出一個迷你添丁燈支架，「早幾年有學生跟我學了一年，就紮了盞燈來送給我。老婆話我，紮了幾十年，都沒有紮盞燈送給她，於是就紮了這個，當送給她留念。」水叔指支架越細件越難做，單是紮迷你竹篾已花了四天，未計花紙。城市節奏急促，花心機的手工難找，肯用四天做一件事的人更是寥寥。

Mo用柔軟藤芯做綵燈支架。Mo使用的材料十分破格，如透光綿紙。可愛卡通綵燈，女生最鍾意。

冒卓祺（42歲）　
．從事紮作業超過20年
 ．製燈年資：12年

大八角　元朗製造

新界好多圍村都保留點燈傳統，沙田由水叔主理，冒卓祺師傅就活躍於元朗區。冒師傅平日多紮花炮、獅頭，元宵前紮添丁燈。今天隨他走入元朗廈村，他在鄧氏宗祠即場紮燈，因做好的添丁燈太大座，無法送入宗祠。冒師傅即場用刀開竹，然後用紙綑紮，再黏上花紙，需時約三天。竹面粗糙，竹篾有倒刺，雙手工傷屬家常，冒師傅笑指自己個個星期都「食刺」。
添丁燈沒有特定樣式，隨師傅手藝而變，冒師傅的添丁燈外形設計跟水叔的有別，「這叫大八角，角越多燈就越圓，看上去較圓順。這款式在本地較常見。」廈村點燈儀式亦跟小瀝源有別，近年不再設宴，限定三個添丁燈高掛宗祠橫樑三天，然後化燈，每年增添多少男丁，就在宗祠放多少盞油燈。
以為添丁燈習俗正在式微，冒師傅卻指近年多了生意，多了西貢、荃灣的客人。正常人多數貪新忘舊，但圍村人卻喜歡添丁燈有懷舊的感覺，寧願花紙有少許甩色、朦朦朧朧，都不想看上去新簇簇，令人覺得不夠傳統。

冒師傅的添丁燈跟水叔有別，稱為大八角。添丁燈將在農曆正月十二（即今日）掛在宗祠橫樑上。冒師傅示範開竹，並表示經常「食刺」。

鄧崇放（42歲）
．綵燈設計師
 ．製燈年資：12年

飛甩老土　本土元素

鄧崇放（Leo）是香港唯一的綵燈設計師，元宵賞燈，聽落有點老土，我試探問有否覺得綵燈跟不上時代，Leo認同今日多娛樂，大家未必要去綵燈會。「我都有問自己為何要設計綵燈，純粹想香港人吃完湯圓，有多個地方可以合家歡。」Leo設計綵燈約12年，康文署每年元宵的綵燈晚會，多由Leo包辦，為飛甩老土，他鍾意將人物卡通化，看上去較活潑，始終怕做人面做得太像真，會似紙紮品。「但卡通化未必能過關，近年還好，以前康文署團隊較保守，不一定接受到。」綵燈會主題由康文署拍板，Leo指有時都頗難搞，例如有一年是《射鵰英雄傳》加《神鵰俠侶》，接job後第一件事是瘋狂煲書。

車仔麵綵燈　香港獨有

Leo每年都設法搞搞新意思，如加添音樂、機動效果，今年就有煙霧特效。早幾年Leo製作過本土味濃的綵燈，如超大型的唐樓綵燈裝置，車仔麵、雞蛋仔綵燈等，「我去現場偷聽遊人意見，大家普遍讚多過彈，老一輩都覺得好懷念。」
做綵燈設計毋須落手落腳紮作，聽落不難，但其實唔易。Leo除了要設計及裝飾燈組外形，材料的選擇、燈泡的擺放、電線的處理都要一腳踢。原本任職平面設計師的他在沙士期間誤打誤撞任職燈飾設計公司，學懂做燈飾工程，慢慢有人找他設計綵燈。「試過同別人講自己做綵燈設計師，有人還以為我是紙紮師傅。」證明香港人都不太了解綵燈。

配合猴年，Leo今年的作品主題是西遊記。車仔麵綵燈獲遊人好評。多年前的神鵰俠侶綵燈。

猜猜燈謎

元宵綵燈晚會多結合猜燈謎活動，猜燈謎活動最早可追溯至南宋，記錄當時城市風貌的《武林舊事》中有提到這種民間遊戲，文人墨客把謎語寫在紗燈上助興。康文署數個特定綵燈晚會亦有猜燈謎活動，燈謎每年各異，好奇何來這麼多題目？查詢得知原來燈謎源自燈謎書。果籽亦趁元宵前，邀請作家及名師出燈謎，讓大家為元宵燈會熱熱身。

1.袁崇煥食完就埋單
（猜一種中國街頭食品）
陶傑　專欄作家

2.一刀切蘋果，如何分六份
（猜猜為甚麼）
陳嘉銘　專欄作家

3.自誇卻能謙語，久死亦是仙人
（猜一先秦人物）
林溢欣　補習名師

4.是曾子非得殺，有韶樂始能忘
（猜一食物）
林溢欣　補習名師

5.麥兜自己沖涼
（猜一近代作家）
網站《笑話站》題目

6.六九
（猜一成語）
《燈謎資料庫》題目

謎底：1.刀削麵、2.華盛頓蘋果（因其底部有５粒蒂，橫刀一切，五小一大）、3.老子、4.豬肉、5.朱自清、6.七上八下

記者：臧諾
攝影：徐振國、鄧鴻欣、潘志恆
編輯：黃仲兒
美術：吳子豪

部份圖片由受訪者提供

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Saturday 20 February 2016

A renegade photographer got inside this lawless Chinese city 119 times denser than New York

Chris Weller

Aug. 12, 2015, 9:14 AM
3,855,596
9

Greg Girard

Between the 1950s and 1994, tens of thousands of immigrants constructed a towering community 12 stories high across a 6.4-acre lot in Hong Kong.

It was called Kowloon Walled City.

With a population of 33,000 squeezed into the tiny lot, the city was 119 times denser at its peak than present-day New York City. Although it faced high levels of crime and poor sanitation, the city was also impressively self-sustainable — until its demolition in 1993.

In the late '80s, Canadian photographer Greg Girard found his way into the windowless world.

He shared some photos and thoughts on his time in Kowloon Walled City with us here. You can check out the rest of his photos together with essays and work from photographer Ian Lambot in the recently released book "City of Darkness: Revisited."

View As: One Page Slides

Though Hong Kong had been under British rule for decades by the time construction began, a clause in an 1842 treaty meant China still owned the property that would become Kowloon. Caught in legal limbo, it was effectively lawless.

Bobby Yip/Reuters

By 1986, the Walled City had caught the attention of photographer Greg Girard. Girard would spend the next four years in and out of the city, capturing daily life inside its teetering walls.

Greg Girard

The Lego-like city was built over decades, as residents simply stacked rooms one on top of another. The end result "looked formidable," Girard tells Tech Insider, "but who knows?"

Greg Girard

Kowloon offered just about every business imaginable, for better or worse. At night, schools and salons were converted into strip clubs and gambling halls. Trafficked drugs — mostly opium — made frequent appearances.

Greg Girard

One woman, Wong Cheung Mi, worked as a dentist.

Greg Girard

Like many of the Walled City's dentists, Wong could not practice anywhere else in Hong Kong. This drew hordes of working-class citizens to visit the city just to receive affordable healthcare and services.

Greg Girard

Stacked housing blocks meant virtually no sunlight could pierce through. Even during the day, Girard says, "it was nighttime all the time in there."

Greg Girard

The one place of respite from the dampness was on the roof, though Girard says this was the most unsafe of all: "There were a lot of additional things sticking out and spaces between buildings that had been combined."

Greg Girard

In-house manufacturing was a huge part of the Walled City's infrastructure. Dog-meat butchers, entrepreneurs, and noodle makers enjoyed zero oversight inside the walls.

Greg Girard

Hui Tuy Choy opened his noodle factory in 1965, totally free to ignore health, fire, and labor codes.

Greg Girard

Sanitation was of minimal importance, Girard says: "It was an intensely difficult place to function, with no laws governing health or safety."

Greg Girard

Law enforcement typically only intervened for serious crimes, Girard says, though rumors were always swirling that Hong Kong's government preferred to turn a blind eye.

Greg Girard

One law that was consistently enforced: The Walled City could be no higher than 13 or 14 stories. Otherwise, low-flying aircraft would have trouble meeting the nearby runway.

Greg Girard

Despite its seedy reputation, the Walled City offered a sense of togetherness to thousands of people who had no community, Girard says.

Greg Girard

"Its physical reality kind of belied this community that it was," Girard says, adding that people's attitudes toward him changed around 1990 when they learned the structure was to be knocked down.

Greg Girard

People began living increasingly quiet, traditional lives. Though he entered as a threatening outsider, Girard eventually left having formed genuine relationships.

Greg Girard

After the city was torn down in 1994, the country built a park in its place. Today, Kowloon Park attracts photographers, birdwatchers, and tourists looking for a relaxing trip — with plenty of room — through scenic Hong Kong.

Reuters Photographer

"Hong Kong is kind of a surreal place," Girard says. "The Kowloon Walled City was one of its more surreal mutations, but Hong Kong evolves and Kowloon evolves."

Kumar nav/Flickr

You can check out the rest of Girard's photographs of Kowloon Walled City, together with essays and work from photographer Ian Lambot, in the recently released book "City of Darkness: Revisited."

Cultural Imperatives

Monday 22 February 2016

Saturday 20 February 2016

A renegade photographer got inside this lawless Chinese city 119 times denser than New York

View As: One Page Slides

Though Hong Kong had been under British rule for decades by the time construction began, a clause in an 1842 treaty meant China still owned the property that would become Kowloon. Caught in legal limbo, it was effectively lawless.

By 1986, the Walled City had caught the attention of photographer Greg Girard. Girard would spend the next four years in and out of the city, capturing daily life inside its teetering walls.

The Lego-like city was built over decades, as residents simply stacked rooms one on top of another. The end result "looked formidable," Girard tells Tech Insider, "but who knows?"

Kowloon offered just about every business imaginable, for better or worse. At night, schools and salons were converted into strip clubs and gambling halls. Trafficked drugs — mostly opium — made frequent appearances.

One woman, Wong Cheung Mi, worked as a dentist.

Like many of the Walled City's dentists, Wong could not practice anywhere else in Hong Kong. This drew hordes of working-class citizens to visit the city just to receive affordable healthcare and services.

Stacked housing blocks meant virtually no sunlight could pierce through. Even during the day, Girard says, "it was nighttime all the time in there."

The one place of respite from the dampness was on the roof, though Girard says this was the most unsafe of all: "There were a lot of additional things sticking out and spaces between buildings that had been combined."

In-house manufacturing was a huge part of the Walled City's infrastructure. Dog-meat butchers, entrepreneurs, and noodle makers enjoyed zero oversight inside the walls.

Hui Tuy Choy opened his noodle factory in 1965, totally free to ignore health, fire, and labor codes.

Sanitation was of minimal importance, Girard says: "It was an intensely difficult place to function, with no laws governing health or safety."

Law enforcement typically only intervened for serious crimes, Girard says, though rumors were always swirling that Hong Kong's government preferred to turn a blind eye.

One law that was consistently enforced: The Walled City could be no higher than 13 or 14 stories. Otherwise, low-flying aircraft would have trouble meeting the nearby runway.

Despite its seedy reputation, the Walled City offered a sense of togetherness to thousands of people who had no community, Girard says.

"Its physical reality kind of belied this community that it was," Girard says, adding that people's attitudes toward him changed around 1990 when they learned the structure was to be knocked down.

People began living increasingly quiet, traditional lives. Though he entered as a threatening outsider, Girard eventually left having formed genuine relationships.

After the city was torn down in 1994, the country built a park in its place. Today, Kowloon Park attracts photographers, birdwatchers, and tourists looking for a relaxing trip — with plenty of room — through scenic Hong Kong.

"Hong Kong is kind of a surreal place," Girard says. "The Kowloon Walled City was one of its more surreal mutations, but Hong Kong evolves and Kowloon evolves."

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