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Walking alongside the Needy

Former tearaway, lecturer Li Chun-hong now inspires and serves

By Tiffany Tsim

In a lecture hall filled with laughter, a man standing at more than 1.9 metres tall gives a lecture to his class of enraptured humanities students. Li Chun-hong is a lecturer at the Chinese University of Hong Kong’s (CUHK) General Education Department and, at 35, he is the picture of respectability. But as a child he very nearly went off the rails and joined the triads.

Throughout Li’s childhood, his mother spared much of her time taking care of his intellectually disabled younger brother. His father worked as a seaman and only saw his family once a week. Li and his older brother were pretty much left to their own devices and they shoplifted from supermarkets, stationary shops and toyshops when Li was just in primary two. He would also get into frequent fights in the streets of Mong Kok where the family lived.

Li ran with a bad crowd, hanging around with gang members who considered him one of their own. But although Li stole, lied and fought, he still believed he was a good person. “When I was with the triads, I insisted on stealing from the chain stores only. I never shoplifted from small shops,” explains Li. “And I gave [the goods] to the foodless!”

He attributes this to the influence of his mother who he describes as gracious and kind-hearted. Despite the complex circumstances of her family, she never grumbled and complained. However, she was strict with her sons, and would beat Li when he did something wrong.

The turning point in Li’s life came when he was in secondary one. He defended a girl who was threatened by a triad from a rival gang. As a result, he was badly beaten up in a revenge attack and ended up in hospital. News of the incident spread fast and caused a scandal in his school and his family.

“It was the first time I saw my mum crying,” Li says. “She did not utter a single word.” Her silence was more damning than the most severe tongue-lashing. Li recognised how disappointed and helpless she felt at that moment. He started to reflect upon his past. “I’m a good person but why do I let myself become scum?” he asked himself. Li resolved to change.

During the summer holiday of secondary two, Li quit swearing, “I [used to] swear a lot. Every sentence I spoke included a four-letter word,” Li says. He also avoided his former gang friends for the entire holiday. Instead of hanging out with them, he picked up a new hobby, basketball, to pass the time during his holiday.

Li Chun-hong delivers a general education lecture at the Chinese University of Hong Kong
Li Chun-hong delivers a general education lecture at the Chinese University of Hong Kong

Playing basketball helped him to stay motivated to be positive. He decided that people needed to have a goal and realised that education would give him more chances in life. The former tearaway became a diligent student who crammed for the public examinations.

The hard work paid off and, in 1998, Li was admitted to CUHK to study for a degree in religious studies. He says he was fascinated by humanities subjects, such as religious studies, anthropology and philosophy, because he was interested in interpersonal relationships. The majority of religions advocate equality and human dignity regardless of people’s social class or if they are disabled.

No Retreat for Bar’s Landlady

Club 71’s Grace Ma Lai-wah refuses to call time on cultural hangout

By Vivienne Tsang

Tucked away in a non-descript alley in the trendy Soho district, Club 71 comes as something of a surprise.  At the entrance, there are three ceramics of human heads by a local potter, Caroline Cheng, with the words ‘THERE’, ‘IS’ and ‘HOPE’ engraved on their foreheads. In the corner of the colourful painted interior of the bar, a musician is playing violin. Grace Ma Lai-wah, Club 71’s owner, extends Varsity a warm welcome.

The bar, named after the annual July 1 protests is the 61-year-old Ma’s second business venture.  The first was the iconic Club 64 in Lan Kwai Fong which Ma ran for 14 years. Those were years that spanned the aftermath of the June 4 crackdown in 1989 to the 1997 handover, SARS and the 2003 July 1 protest against Article 23.

Throughout that time, Club 64 was a place where people from Hong Kong’s local culture, arts, social activist and media circles would gather to socialise, relax, talk politics and have a drink. Watching over the bar throughout those years was Ma.

Surprisingly, she says: “I’ve hated doing business my whole life, not to mention running a bar.”

Ma was enlisted to help by her former husband, a scriptwriter, who was one of the original 12 partners when the bar opened in 1990. Others included the late social activist Ng Chung-yin and media veteran Lung King-cheong.

Grace Ma 4
Ma chats with customers

Although she was still working as a secretary in a nursing unit at the time, Ma started working at the bar in the evening after work. “Men do the talking, and the women do the work,” she complains. She worked without pay for half a year before she began running the bar full-time.

Unlike the other bars and pubs in the area, the atmosphere in Club 64 is peaceful. No one plays hand games while drinking in the bar, instead they chat, read or play music. Ma says she did not deliberately create the vibe. “Perhaps it’s related to my personal character. I don’t like tumult,” she surmises.

The early days of Club 64 were tough for Ma. The business struggled to break even and her marriage broke down in 1993. She drank heavily.

There was also trouble with gang members who visited the bar and harassed Ma frequently. As she was new to bar business, she was at her wit’s end. One day, a gangster asked her for protection money. “I really had no money to pay him, so I told him, ‘I think no one can protect anyone’, she recalls. Eventually, she learnt how to deal with them and earned their respect. Over time, things became easier for Club 64 and for Ma.

For many of her customers, and even Ma herself, the name Club 64 conjures up memories of the Tiananmen crackdown in 1989, an event that had a great impact on her. During the pro-democracy protests, Ma joined rallies in support of the students in Beijing. Until the news broke of gunshots in the capital, she held on to the hope that China would change. The violent suppression left her shocked and speechless.

“It’s too much to handle, using a name like this for a bar or business.”

Medicine Street Seeks Prescription for Survival

Rents to surge in Ko Sing Street due to the opening of MTR West Island Line

By Cindy Gu, Jayce Lai, Joey Kwan

Edited by Yan Li

52-60 Photo feat - Ko Shing Street2_Page_1

 

 

Paradise for Shutterbugs

Experience Hong Kong’s first 3D museum

By Cindy Gu

When your friend declares, “See, I’ve just visited the South Pole”, you may not believe him – until he shows you a photo of himself standing in the middle of a large crowd of penguins. But wait, how could he only be wearing a T-shirt and short trousers in such a chilly place?

Here is the answer – the photo is taken at the city’s first three-dimensional (3D) painting museum, Hong Kong 3D Museum. Opened in July 2014, the museum provides a unique experience for visitors to take offbeat photos with friends and family and interact with interesting paintings that appear three-dimensional when photographed. Over 70 3D paintings are displayed in the museum’s 10,000 square-foot hall.

The museum is divided into five zones of different themes, “Love Journey”, “Imaginary Wonderland”, “3D Experience Zone”, “Chinese Culture” and “Hong Kong Culture”. Visitors can create their own romantic love stories or exotic adventures with surreal backgrounds.

The essence of local culture is highlighted in the museum. “Elements of local culture make our museum unique,” Zaccheus Law Man-hing, managing director of Hong Kong 3D Museum, says. He says the museum hopes to promote local culture, both modern and old, through a special medium, 3D painting.

Some paintings are based on iconic Hong Kong cityscapes, including famous landmarks that now only exist as part of the collective memory. For example, there are paintings of the demolished Queen’s Pier and Kai Tak Airport, bringing visitors back to the good old days.

Law says the museum does not only offer a fun photo-shooting experience, but also an opportunity for visitors, especially the young ones, to learn more about the city’s history through the creative artworks.

This month, the museum is holding “The First Ever One Piece 3D Exhibition”, featuring the popular Japanese comic character, Luffy and his crew. It enables visitors to engage in the comic like never before. If you are a One Piece lover, don’t miss this unprecedented event.

Visit Hong Kong 3D Museum at 1/F Hilton Tower, Tsim Sha Tsui East. For more information, please visit www.hk3dm.com.hk

Edited by Yan Li

Preserving the Bloom

Create your own pressed flower products at Heart of Heartz

By Jayce Lai

Do you want to send real flowers that will never wilt or preserve the beautiful blooms that you have received? Pressed flower craft will let you do just that. At Heart of Heartz Press Flower Association, you can create your own beautiful and elegant pressed flower products.

The craft of pressing flowers has a long history. Originating in England in the Victorian era, it has experienced a revival in the last few decades. The process of making pressed flowers consists of drying and pressing flower petals and leaves to remove the moisture. The pressed flowers and leaves can then be used to in various ways, such as incorporating them into paintings or different handicrafts and accessories.

Trista Tse, the founder of Heart of Heartz Press Flower Association, was a banker before she became a pressed flower instructor. Inspired by a pressed flower exhibition during a trip to Taichung in 2012, Tse decided to quit her job because she found herself more interested in making pressed flowers. She decided to take a pressed flower course in Taipei and returned to Hong Kong to set up Heart of Heartz Press Flower Association.

To Tse, pressed flower art is a kind of meditation that brings her deep-down peace. “[When I’m doing pressed flower] I forget about the world as I only focus on making the product,” says Tse with a satisfied smile on her face.

Tse says that pressed flower art has inspired her to enjoy life in the slow lane and appreciate the beauty of nature more. As Hong Kong is a hectic place where people are often too busy to savour and enjoy life, Tse hopes to promote the attitude of slow-living through her pressed flower workshop.

Heart of Heartz offers workshops that allow people to create their own pressed flower products. Don’t worry if you do not have any prior experience of the craft as Tse will provide detailed instruction. Classes are usually small, with two to six people in each class. Fees range from HK$380 to HK$980, depending on the type of products made and the number of lessons required.

Apart from holding classes, Heart of Heartz also sells many lovely pressed flower products, from accessories, clocks, to kitchenware and bouquets for weddings. Every product is uniquely designed by Tse.

If you are interested in pressed flower art or simply want to treat your loved ones with a special gift, head to Heart of Heartz. You can also check out its Facebook page at www.facebook.com/heartofheartz

Edited by Yan Li

The Forgotten Transport: Kaito Ferries in Hong Kong

Reporters: Kanis Leung, Agnes Ng, Thomas Chan

Editors: Katrina Lee, Hilda Lee

65-year-old Big Sister Fook has operated illegal kaito ferry services in Cheung Chau for decades. These kaito ferries are both a tradition and a common mode of transport. During major festivals such as Ching Ming and Chung Yeung, demand for such ferries is overwhelming. At other times, their passengers are mainly tourists and fishing enthusiasts.

Although the government requires those operating kaito ferry services to hold a license for taking passengers, enforcement had been lax for years. This meant illegal kaito ferries could still operate. But after the Lamma Island ferry collision in 2012, authorities stepped up enforcement of regulations, affecting the livelihood of those running the kaito ferries.

At the same time, most kaito ferry owners are elderly and find it hard to adapt to changes required for license application. Big Sister Fook took the necessary examinations but her application was rejected. Cheung Chau District Councilor Ken Kwong Koon-wan suggests the government should help boat-owners to get licenses so they can use their vessels for both fishing and carrying passengers.

Another place where illegal kaitos operate is Sha Lo Wan Village, a remote settlement near Lantau Island. As there are only six registered kaito ferries running each day between the village and the city, many villagers have moved out, leaving the village only half occupied with elderly residents. To cater to the villagers’ everyday needs, small boats providing illegal on-call services have appeared. But safety is a concern – one small boat sank in 2008 because of overloading.

Sha Lo Wan village headman Man Wai-cheong says government policy on kaito ferries is inadequate. With a lack of any subsidy, registered kaito ferry operators are unwilling to run more frequent services.

Registered kaito ferries face a similar problem in Peng Chau. Wong Hon-kuen, the Peng Chau District Councilor laments that kaito ferry services are struggling to survive. Some routes have been cut due to high operational costs and the lack of government support. Wong predicts small kaito ferry companies will eventually give up on this business, leading to further inconvenience for the residents.

Viewing Hong Kong history through protest

Reporters: Benny Kung, Edith Lin, Jeffrey Loa

Editors: Vanessa Cheung

Public museums are not the only places to find artefacts that tell the story of Hong Kong’s development. Protest items collected by the public tell the story from another perspective.

Chong Yiu-kwong, who has participated in social movements since the 1980s and is now a Senior Teaching Fellow at the Hong Kong Institute of Education, started his collection in 1989. At the time, Hong Kong people from all walks of life threw their support behind the students’ pro-democracy movement in Beijing. Many posters, T-shirts and stickers were printed, and Chong still has many ot them.  Over the years, he has collected more than 300 t-shirts and many stickers.

Compared to when Chong began collecting,  protest items made by participants of the recent  Umbrella Movement show much more variety and creativity. There are leaflets, postcards, posters, statues, drawings, sculptures and installation artworks – you name it. Chong thinks advances in technology have made it easier for members of the public to create their own protest items, leading to greater diversity in the types of items that have been created.

Individual collections going back more than 20 years are relatively rare but as the number and nature of demonstrations increased after the handover, more people have become aware of the importance of collecting items that capture the concerns and spirit of the time. In  2002 the Community Museum Project held an exhibition on “objects of demonstration” to show the unique ways the public have used to express opinions . Exhibits included a bitter melon representing the hardship of life, mock coffins for government officials and the Goddess of Democracy.

Phoebe Wong Siu-yin, on the project members notes that unlike in previous demonstrations, notes participants in the Umbrella Movement  have turned tools used by police to manage and control demonstrations  into their own protest objects. For example, they utilize the police barricades to create road blockades to limit the police’s movement. Wong says such action reproduces the function of the tools of authority and shows the wisdom and creativity of protesters.

The sheer volume and diversity of Umbrella Movement protest items facilitates the telling of the story of the movement from the ground up.  A group of artists, curators and critics have established the Umbrella Movement Visual Archives and Research Collective to protect these items for history.

Clarisse Yeung Suet-ying is a member of the collective.She thinks it is better for the public to preserve Umbrella Movement protest  than for government-supported museums and organisations to do it. She fears that the government is responsible for preserving the objects, it  may rewrite the story and fail to present the voices of the public.

Capturing scenes from the city – the old fashioned way

Reporters: Angel Liu, Stella Tsang, Yan Li

Editor: Tracy Chan

It has never been easier to capture scenes from the city with an array of digital devices. But even in the age of smartphones and numerous apps to shoot, edit and share still and moving images, there are some people who prefer to use non-digital means to record Hong Kong’s history and daily life.

Ric Tse works in property management and is a freelance photographer in his spare time. Apart from taking conventional photographs of scenes and events, he prefers to recreate them, with Lego bricks, before taking pictures of them. Tse’s Legography series includes such iconic scenes as the annual Hong Kong marathon and June 4th candlelit vigil. The works, combining 3D tableaux and 2D photographs have been a hit. So far, he has created around 30 pieces, through which he hopes people can look at the city from the perspective of children. Tse held his first art exhibition at Picture This Gallery in November 2014.

Apart from recreating three dimensional scenes, there are also artists observing and documenting the city through drawing and painting.

Luis Simões, a Portuguese Illustrator, started his World Sketching Project in March 2012. He planned to visit five continents in five years, sketching  the places he visits and the people he encounters. He has already travelled to 29 countries and made more than 1,000 sketches.

“The idea started after I realised I don’t want to be too materialistic.” Says Simoes“I wanted to explore some countries, to explore my art and try to be more like an artist.” So he quit his job as a motion designer and lifted up his backpack.

Simoes has spent ten  months in Hong Kong, and likes the contrast between urban life and nature in the city. Scenes from the Umbrella Movement have given him plenty of subject matter to sketch.

For local artist Gary Yeung, urban sketching is more reproducing  reality in pretty watercolours. As a Hongkonger born and bred , Yeung has always been attached to the territory’s idyllic charms, a side of Hong Kong he finds gradually receding due to rapid development. By using his brush, Yeung becomes a historian, documenting the city’s long-standing buildings and communities.

In 2012, Gary Yeung co-founded Urban Sketchers Hong Kong with a few other illustrators, and they started to meet regularly to recordcityscapes in different parts of Hong Kong. When the  Occupy Movement got underway, Yeung felt the group was playing another role as well“Since Occupy Central started, as urban sketchers, my friends and I became aware of another role we’ve been playing in recent months. We have in fact been reporting. We’re not just sketching, but sketch reporting.”

Yeung says, urban sketching is always about human life. “There are many shops in a street, but without humans, there’s no life… People are in action. And we are sketching actions.”

Old and alone in Hong Kong’s ghost villages

Reporters: Grace Cheung, Zoe So, Sherry Tsui, Brian Wong

Editors: Cindy Ng, Silvia Li

Away from the hustle and bustle of city life, few people are away of the plight of the elderly left behind in semi-deserted rural villages. While many senior citizens living in city areas may enjoy family life when their children are off from work, these elderly villagers in remote area of the New Territories hardly ever see their loved ones because their homes are not easily accessible.

64-year-old Tsang Shan-wah moved back to Lai Chi Wo Village in Fanling two years ago and runs a store there. “Transportation is the major reason why the villagers move to the city, and many of them actually wish to come back very much,” he says.

In the 1960s, there were approximately 450 villagers around Lai Chi Wo area, and Tsang’s village was one of the seven most populous villages in Lai Chi Wo. But the remoteness of the location – it takes at least three hours to walk from the nearest train station – and the lack of public transportation means many young people have left.

When the elderly villagers fall sick, they have to hire a ferry to take them to the city and this costs a few hundred dollars.

Residents of Lai Chi Wo Village are not alone in their plight. Sha Lo Wan Village along the Tung O Ancient Trail can only be accessed by motorbikes or bicycles through a narrow hiking trail; and ferries which have just six sailings a day that stop here on the route between Tuen Mun and Tai O.

According to the Planning Department, Sha Lo Wan Village has a total population of 700 in 2013. However, most of the working younger people only return to the village on an irregular basis due to the inconvenient transportation, leaving fewer than 30 elderly people staying at the village on a daily basis.

A 70- year- old villager, who lives alone, says she has to hire a ferry to Tung Chung whenever she goes for medical follow-ups. It is an expense she can ill afford.

These villagers have been urging the government to run a ferry from Ma Liu Shui to Lai Chi Wo or let them operate “kaito” (small fast boats), but to no avail. They hope better transportation can bring the younger generations back and rejuvenate the villages. In San Tau Village along the same Tung O Ancient Trail, the villagers have been asking the government to build a carriageway linking Tung Chung to Tai O for 30 years. The government promised them one as a trade-off for building the new airport near their home. “It has already been ten-something years since the completion of the airport but still there is no progress for the carriageway,” says 76-year old Ms. Wong, who has been living in San Tau Village for over 50 years.

Cost efficiency and complex construction work are the major concerns of the government. In the meantime, these elderly people, many of them living alone in some of Hong Kong’s remotest villages continue to face uncertainty and anxiety. “Even the ambulance cannot access the villages promptly,” Wong says, “You just have to wait. If it’s not something that’ll kill you, you can wait, if it is, then you’ll die. That’s it, no big deal.”

Citizen Journalists report the Umbrella Movement

What does it mean for journalism when amateurs take to the frontline?

Reporters: Henry Lee, Total Lam, Antonia Wong

Editors: Rachel Cheung, Sharon Lee

As the Umbrella Movement ran into its second month, it was another night of action in Mong Kok. This time, it was a camera flash light that triggered scuffles.

Daniel Cheung was in the middle of the crowd. He is a photojournalist from SocRec, an independent online media outfit in Hong Kong.

Cheung had been working for SocRec for around three months. Compared with the traditional media, he says reporters at independent media enjoy greater editorial independence; they can release first-hand information quicker. Usually, a camera or a smartphone is all they need to do their reporting.

Still, he concedes the mainstream media makes a bigger the impact than independent media, “Foreign media would only report through the information released by mainstream media,” says Cheung.

Gundam Lam is a student at the University of Hong Kong who works part-time as an amateur reporter for InMedia, another independent Internet media platform in Hong Kong.

Lam recalls that when he tried to report the meeting between representatives of the Hong Kong Federation of Students and government officials, he was refused entry to the venue. Lam’s credentials were not recognized by the guards. He found the decision ridiculous and says a media organisation should be judged by its credibility and influence.

Citizen journalists play a different role from that of mainstream journalists. Instead of maintaining objectivity, some would practice advocacy journalism, “We are here to be part of the social movement… our news is assisting the movement!” he says.

Paul Leung, who founded SocRec, thinks citizen journalists are different from journalists. “Journalists are journalists, they require professional knowledge … We are just netizens and citizens, who systematically collect information by crowd-sourcing and posting it online,” he says.

Leung tends to report things that may not be covered by mainstream media. He sees his role as complementary to rather that a replacement of traditional media. In this way, alternative media can put pressure on and motivate traditional media to report things they might otherwise have missed.

Sham Yee-lam, the Chairperson of the Hong Kong Journalists Association says citizen journalists cannot be recognized as journalists.

“[For them], it’s just an interest.. They are merely collecting information – a lot of people do that. We used to call them information sources. But now we gave them a name, citizen journalists,” says Sham.