Centre of Urban History, Culture and Media

Story of the Month - June 2019

Story of the Month - June 2019 

每月故事 - 二零一九年六月     

 

storyofthemonth June2019

Photo Credit: Pexels.com (相片來源:Pexels.com) 

Centre Fellow Prof. Zhong Hua Sara’s research interests include social development and crime trends, cybercrime, substance abuse, juvenile delinquency, and gender-crime nexus.  

本中心成員鍾華教授的主要研究領域包括社會發展與犯罪趨勢、網絡犯罪、毒品犯罪,青少年犯罪與越軌行為、性別與犯罪等。

 

Her research team just completed a project about Chinese urban citizens’ perceived safety. The study mainly focuses on the gendered mechanisms between social disorganization, social inequality and perceived safety among Chinese urban residents. Considering the rapid technological changes in the modern era and their threat to privacy, this research considers both perceived privacy safety and traditional types of perceived safety (e.g., perception of safety if going out after 10pm). Regarding perceived privacy safety, the results suggest that trust in strangers significantly increases males’ privacy safety but not females’, while police presence in a neighbourhood and perceived justice in law enforcement have significant positive effects on females’ privacy safety but not males’. For perceived night safety, formal social control (e.g., police performance) and perceptions of income inequality affect men and women similarly in urban China. In contrast with Western studies, collective efficacy is not that useful when explaining perceived night safety for either men or women, which is possibly due to the prevalence of security guards in urban communities. This research is pioneering as it implies that the social forces of perceived personal/property safety in urban China are relatively gender-neutral, whereas the mechanisms of perceived privacy safety are gendered and strongly related to both offline gender inequality and digital gender inequality. 

鍾教授的團隊剛剛完成一個關於中國城市居民安全感的項目,該研究的焦點在於社會解組與社會不平等影響中國城市居民安全感的分性別機制。考慮到當代科技的高速發展及其對公民隱私產生的顯著威脅,本研究涵蓋了隱私安全感和傳統類型的安全感(例如在晚上10點之後外出是否覺得安全)。在隱私安全方面,研究結果表明,陌生人的互信極大提高了男性的隱私安全感,但不能增強女性的安全感;而社區中的警力配備以及主觀感覺到的執法公正對女性的隱私安全感存在明顯的積極影響,卻極少作用於男性。而在夜間安全感的分析中,正式社會控制(例如警方表現)和主觀感覺到的收入不平等對中國的都市男女有相似作用。與西方同類型研究不同,在詮釋中國男性或女性的夜間安全感時,集體效能的理論並不太適用,原因可能是中國城市社區中普遍配置了市場化的帶薪保安服務。本研究具有一定的開創性:這些成果意味著中國城市的社會因素對個體/財產安全感的影響無顯著性別差異,然而對隱私安全感的作用機制是性別化的,這與中國社會現實和網絡上的性別不平等狀態息息相關。

 

Currently Prof Zhong is collaborating with Tencent on projects related to protection of youth from victimization of cybercrime and cyberbullying. She is also using big data to examine the patterns of cyber fraud in Hong Kong and Mainland China and the social forces behind it. 

目前,鍾華教授正在與騰訊集團合作,開展預防青少年網絡犯罪和網絡霸淩受害的相關項目。同時,她也在運用大數據檢視香港和內地的網絡詐騙模式及其背後的社會力量。

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Story of the Month - May 2019

Story of the Month - May 2019 

每月故事 - 二零一九年五月 

   

Storyofthemonth May2019 

Photo Credit: Pexels (圖片來源:Pexels) 

 

Prof. Jin Lei, Fellow of Center of Urban History, Culture and Media, is recently working on a project that examines social disparities in health lifestyle in transitional China and for now she is focusing on smoking, one of the most serious public health challenges in China. China is the largest producer and consumer of cigarettes, producing and consuming one third of the world’s cigarettes. In 2010, around one sixth (1.4 million deaths) of all deaths in China were attributed to tobacco use. Smoking is highly correlated with people’s education levels and the educational gaps in smoking has widened drastically in recent cohorts; the educational gaps in smoking among the post-1980s cohorts were more than twice as big as those among the cohorts that grew up during the Cultural Revolution. This suggest that the burden of disease attributable to smoking will fall disproportionally on the socially disadvantaged. The widening educational gaps were probably due to the increasing salience of education as China’s economy marketized and to the fact that as the harms of smoking became known, socially advantaged groups were more likely to get hold of and act on that knowledge. Moreover, she found that smoking cessation was extremely rare for both high and low-education individuals; the educational gaps widened mainly because in recent cohorts, low-education individuals were much more like to initiate smoking than those with higher education, compared with earlier cohorts. This research suggests that public policies need to encourage smoking cessation and prevent smoking initiation especially among vulnerable groups. In her future research, she plans to examine how low socioeconomic positions contribute to smoking initiation among adolescence.

 

 

中心成员金蕾教授的研究項目之一,是探討中國轉型時期健康生活方式的社會差異。吸煙作為中國最嚴峻的公共衛生挑戰之一,也是此項研究目前主要的關註點。中國是世界上最大的卷煙生產國和消費國,生產和消費了全世界三分之一的卷煙。2010年,中國死亡人口中約有六分之一(140萬人)與煙草使用有關。吸煙行為與個體的教育水平高度相關,而近年來年輕世代中吸煙行為的教育差距急劇擴大; 80年代後出生的世代中吸煙行為的教育差距是文化大革命期間長大的世代的兩倍多。這也意味著由吸煙行為造成的疾病負擔將不成比例地落在社會弱勢群體身上。這一差距的不斷擴大,究其原因,一方面是由於教育的重要性隨著市場化程度深化而越發凸顯,另一方面也是由於在吸煙的危害性逐漸為人們所知的過程中,社會優勢群體更有可能掌握相關知識並采取行動。此外,她發現,對於高教育和低教育的人來說,戒煙行為均極為罕見而導致教育差距擴大的主要原因,則是由於在年輕的世代中,與早期世代相比,低教育程度的個體比高教育程度的個體更容易習得吸煙行為。該研究表明,在公共政策的制定上,我們需要積極鼓勵戒煙行為並加強防治弱勢群體中的吸煙行為。在未來的研究中,她將著手於研究青少年群體中,社會經濟地位是如何影響其吸煙行為的習得。

 

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Story of the Month - April 2019

Story of the Month - April 2019 

每月故事 - 二零一九年四月 

 

火星長老的社企實驗

朱順慈  香港中文大學新聞與傳播學院副教授

 

月的故事以本中心成員朱順慈教授社會企業為焦點。以下她描述了如何利用知識轉移项目來接觸市民大將媒體研究與香港的年輕人聯繫起來。

 

2017年得到知識轉移基金支持,我創辦了以推動媒介與資訊素養(media and information literacy)為目標的社會企業。「火星媒體」(Mars Media Academy)不僅是mass media的諧音,更寄予了一個願望:日日機不離手,天天浸淫在不同媒體的地球人,是否可以跳出習以為常的生活,直奔太空,從火星回望,檢測一下我們使用媒體的習慣。 

 

星人的口號是:「在地經歷,離地思考」,貼地和離地,應該相輔相成,所以我們辦數碼排毒營(Digital Detox Camp),為中學生設計離線體驗,放慢腳步感受沒有智能電話的生活,進而思索現代媒體如何改變地球人對時間、空間和記憶的態度。我們亦提供針對假新聞、廣告和性別等議題的課程和工作坊。

 

去年,火星媒體獲一青年智庫委約製作一個以「自拍現象」為主題的紀錄片。為了了解年輕人對相關題目的看法,我們在製作的第一階段帶著五句說話訪問六家中學,請參與討論的同學選出最認同的一句說話:「你的樣子如何,你的日子也必如何」、「貪靚貪出病」、「貪靚無罪,P圖有理」、「內在美最重要」、「好彩生得唔靚」。

 

 結果,最多人選了在網絡流傳已久的話:你的樣子如何,你的日子也必如何。望文生義,人靚著數多,貪靚合情合理,為了追趕主流文化宣揚的美,修圖、化妝、美容、減肥、整容,方法層出不窮,達標卻遙遙無期。如果說愛美是人的天性,不同人眼中的「美」,有沒有一套普世通行的標準?當貪靚貪出病,病根是甚麼?如何解決由美而生的焦慮?

 

在香港長大、自小被認定為美女的吳海昕帶著這些關於美、身體形象、自我肯定、美在媒介和藝術中意義等等的問題,專訪心理學家、人類學家、哲學家、美容專家、電影明星、美學大師⋯⋯帶領我們一起尋找答案並重新思考:你的樣子,如何成就你的日子。 

 

成立了快兩年,火星媒體會繼續本著在地經歷、離地思考的精神,在傳媒教育的領域上,發展更多有趣的計劃。

 

Mars Mission 

Donna Chu, Associate Professor, School of Journalism and Communication, The Chinese University of Hong Kong

 

The April Story of the Month features CUHCM fellow Professor Donna Chu’s social enterprise. Her story below describes the use of a knowledge transfer project to reach out to the public, bridging media studies and youth in Hong Kong.

 

In 2017, I founded a social enterprise "Mars Media Academy" enabled by the Sustainable Knowledge Project Transfer Fund. In addition to being a pun to "mass media", Mars Media is advocating for a critical distance from our highly mediated lives. By promoting media and information literacy, we hope everyone can examine and reflect on how we participate in our networked media environment by taking a Martian point of view.

  

In the past two years, we have been organizing Digital Detox Camps and news literacy workshops for secondary school students. In 2018, we were commissioned by a youth think tank to produce a documentary inspired by the selfie phenomenon. The Mars Mission will continue to explore how media and information literacy can be implemented in Hong Kong. 

 

 storyofthemonth APR2019

圖片說明: 火星長老在中學演講《瞬間看地球》(圖片來源:朱順慈)

Photo Caption: Mars Elder Prof Donna Chu giving a talk entitled “A snapshot of Earth” at a secondary school. (Photo Credit: Donna Chu)

 

 

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Story of the Month - March 2019

Story of the Month - March 2019 

每月故事 - 二零一九年三月

  

In the evening of 21 February 2019, a group of Hong Kong artists congregated at the New Asia Concourse, The Chinese University of Hong Kong to put up a performance about the future of Hong Kong. The artists included the local indie band Black Bird, and the People’s Theatre.

2019221日晚,一群香港藝術家聚於香港中文大學新亞書院圓形廣場,為觀眾獻上一場關於香港未來的精彩表演。演出藝術家包括香港獨立樂隊黑鳥,以及民眾劇團。

 

This performance was in fact a reunion for the two groups who had collaborated and performed at the same spot 30 years ago. Lenny Kwok, founder of Black Bird, felt that this reunion was significant, given that their performance three decades ago inspired many young Hong Kongers in that era to think about the impending uncertainty of Hong Kong’s future. 

這場表演其實是一次重聚。三十年前,兩個團體曾在同一地點進行了合作演出。黑鳥樂隊的成員郭達年認為,這場重聚是意義深遠的。三十年前的演出曾在那個時代鼓勵了許多香港青年思考香港社會不確定的未來。

 

 The three hour performance started with Talents Displaced, a fusion music band made up mostly of refugees and asylum seekers from Africa. It was followed by a range of items including singing, behavioural art and storytelling by veteran artists Lenny Kwok with his wife June Zhu, poet and narrator Yuen Che-Hung (more fondly known as Uncle Hung), and Mok Chiu Yu of the Asian People’s Theatre Festival Society. There was a post-performance dialogue. The performance touched on issues of politics, the environment, youth and their hopes. It was a thought-provoking event, at times poignant, at times shocking, with an aim to promote freedom of expression and freedom of thought.

三小時的演出由樂隊才飄八斗率先登場。這是一支融合音樂樂隊,主要由在港難民和尋求庇護的非裔人士組成。接著的演出涵蓋歌唱,行為藝術和講故事等。資深藝術家郭達年與妻子朱秀文,詩人及講述者阮志雄(大家暱稱他為雄仔叔叔)、還有亞洲民眾戲劇節協會的莫昭如參與了演出。演出後有嘉賓對談。這是一場發人深省的演出,讓人思考政治、環境和年輕人的想望。觀眾時而震驚、時而感動,共同參與了思想與言論自由的一次反思。

 

 Storyofthemonth Mar2019 

Photo Caption: Discussion with artists after the performance. (Photo Credit: Maria Tam)

圖片說明:演後與藝術家對談。(圖片來源:譚少薇)

 

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Story of the Month - February 2019

Story of the Month - February 2019 

每月故事 - 二零一九年二月

 

Can Farmers’ Sales Direct to Consumer Guarantee Organic Products?

農民向消費者直接銷售是否保障有機產品?

 

Joseph Bosco

Adjunct Associate Professor, Dept. of Anthropology, CUHK

林舟,香港中文大學人類學系,兼任副教授

 

 

Consumers worldwide are increasingly concerned about the risk of pesticide residues on fruits and vegetables. Consumers can buy organic produce, but how does a shopper know that the produce is really grown without pesticides?

全世界的消費者越來越關注水果和蔬菜上農藥殘留的風險。消費者可以購買有機農產品,但他們如何辨認它們真的不以農藥種植?

 

 

One solution that has emerged is farmers selling and delivering produce directly to urban consumers. This sounds like a win-win situation: consumers get safe food and farmers can sell at a higher price. Taiwan should be an ideal place for direct to consumer farming, because the island is relatively small and densely populated. With rapid and relatively inexpensive delivery services like Black Cat, farmers can easily ship to urban consumers anywhere on the island.

已經出現的一個解決方案是農民直接向城市裡的消費者銷售和宅配農產品。這聽起來像是一個雙贏的局面- 消費者可以獲得安全食品,農民可以以更高的價格出售。台灣應該是直接向消費者直銷農產品的理想地區,這是因為台灣面積相對較小且人口密集。通過如黑貓貨運這種快速且相對便宜的直宅配服務,農民可以輕鬆地將貨品運送給島上任何地方的城市消費者。

 

 

One example of this system is Mrs. Li’s dragon fruit farm in Pingtung County. Mrs. Li is in her 60s, and walks with difficulty. She and her daughter, who is a nurse and works full time in a hospital, grow and market the dragon fruit. Both are Buddhists passionate about organic farming. Dragon fruit actually grows well without pesticides because it can resist many pests. The Lis tie bags over the fruit as they start to grow, to protect them from fruit flies and birds. They only use organic fertilizer. They grow special types of short grasses between the rows of dragon fruit plants to prevent soil erosion and to remove hiding places for rats and insects. They pull weeds and tall grasses out by hand, to keep them from taking over. They call their system “cultivation in weeds without poisons”, because even though they are not accredited as organic, they do not use pesticides and they allow grass to grow around the plants.

這個系統實施的一個例子是屏東縣李太太的火龍果農場。李太太60多歲,走路有困難。她和女兒(一名在醫院工作的全職護士),種植和銷售火龍果。兩位都是佛教徒,對有機農業充滿熱情。因為火龍果本身可以抵抗許多害蟲,不用殺蟲劑也能良好地生長。當火龍果開始成長時,李家水果袋套在火龍果上,以保護它們免受果蠅和鳥類的傷害。他們只使用有機肥料,在火龍果植株之間種植短草,以防止泥土流失並減少老鼠和昆蟲的藏身之處。他們徒手拔出雜草和高大的草,以防止它們侵佔泥土。他們將這個系統稱為「草生無毒的栽培」,因為即使他們沒有有機認證,他們也不使用殺蟲劑,並讓草在火龍果樹周圍生長。

 

 

Most dragon fruit does not have a very strong taste, but Mrs. Li’s dragon fruit are sweeter and have a subtle, fragrant taste. They are also much larger than what we usually see. I have brought boxes back to Hong Kong as gifts, and friends are impressed.

大多數火龍果的味道並不濃烈,但李太太的火龍果較甜,且有一種含蓄的香味。它們也比一般火龍果大得多。我把火龍果帶回香港作禮物,都讓朋友們留下了深刻的印象。

 

 

To grow these delicious fruits is not easy. The plants have to be carefully tended and pruned. Mrs. Li picks the fruit when it is 80 percent ripe, so that when it arrives to the consumer, it is ready to eat.

種植這些美味的水果並不容, 必須小心地栽培和修剪。李太太在水果八成熟時採摘它們,好使當水果到消費者手上時,就剛好可以吃了。

 

 

The fruit is not cheap; in 2016, she sold them at between NT$80 and NT$110 per catty, depending on the size. This was 29 to 71 percent more than the supermarket price. The difference is even greater if you compare it to street market prices.

 這些火龍果不便宜。 2016年,李太太以每斤80至110新台幣的價格出售,售價因大小而定。這比超市價格高出29%到71%。如果與街市價格比較,差異則更大。

 

 

This system of selling directly to consumers seems fine for wealthy buyers, and for items that are intended as gifts. It does not seem to be viable for the average consumer. Mrs. Li is making a living, but not making a fortune. Only her hard work plus the help of her employed daughter allow this “direct to the consumer” enterprise to survive. And as Mrs. Li gets older, like most Taiwan farmers, one wonders how much longer this will be viable.

這種直接向消費者銷售的系統,對富有的消費者或用來送禮頗為合適。對於普通消費者來說,這系統似乎並不可行。李太太只能以此謀生,但不能致富。她的辛勤勞動,加上女兒的幫助才能讓這種直銷企業生存下去。就像大多數台灣農民一樣,隨著李太太年紀漸大,這系統還能維持多久就不得而知了。

 

 

Direct to the consumer sales will remain a niche but cannot represent a solution to consumers’ worries about food safety. Just as helicopters are a solution for traffic jams for the rich but do not solve the problem of traffic jams, direct selling to the consumer is a solution for a few rich urban buyers that help a few farmers but fails to address underlying problem of food safety.

直銷手法始終是個小眾市場,不能解決消費者對食品安全的擔憂。正如直升機是富人面對交通擁堵的解決方案,但它不能解決交通擁堵的問題。同理, 直接銷售模式幫助了少數富裕的城市買家,同時也幫助了少數農民,但它並不能解決深層的食品安全問題。

 

 

 

storyofthemonth feb2019

Photo caption: This dragon fruit field is similar to Mrs Li's, but note that the short grass is dying; it is infested with insects. The birds flying above the field are feeding on the insects in the grass. These insects do not harm the fruit, but the fruit are protected by net bags. You can see many blossoms about to bloom. Photo credit: Joseph Bosco, Oct. 2015

文字說明:這個火龍果場與李太太的果園相似,但留意短草正在凋謝,大量昆蟲出沒。在田野上空的鳥兒正以草叢中的昆蟲為食。這些昆蟲不會傷害水果,但水果受到網袋的保護。照片中也可以看到很多火龍果花即將綻放。(照片來源:林舟, 201510月)

 

 

storyofthemonth feb22019
Photo caption: Joseph Bosco in Mrs. Li's field, holding a dragon fruit in the protective net bag.
Note the short grass, and some weeds under the fruit. (Photo credit: Joseph Bosco, July 2015)

文字說明:林舟在李太太的果田裡,手中是套在防護網袋裡的火龍果。注意短草和果實下的一些雜草。(照片來源:林舟,20157月)

  

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Story of the Month - January 2019

Story of the Month - January 2019 

每月故事 - 二零一九年一月

 

Who needs intercultural education? In Hong Kong, 8% of the population are non-Chinese, the bigger groups among them being Southeast Asians and South Asians. And though 92% of the population are all considered Chinese, they have come from many different cultural backgrounds, each one with their own traditions. The diverse languages and religions, as well as skills and knowledges that these various social groups have brought to Hong Kong have contributed to making Hong Kong a metropolis. Center Director Prof Siumi Maria Tam through her research on ethnic minority identities in Hong Kong, finds however that the various ethnic and cultural groups have low levels of interaction and of mutual understanding, and this has caused much cultural misconceptions and social exclusions.

誰需要跨文化教育?在香港,8%的人口為非華裔,其中較大的群體是南亞與東南亞裔。雖然92%的人口都是華裔,但他們來自不同的文化背景,有各自的文化傳統。這些族群多元的語言和宗教,以及技能和知識,為香港國際化大都市的發展作出貢獻。中心主任譚少薇教授通過對香港少數裔族身份認同的研究發現,各族群和文化群體之間互動和相互理解程度較低,因而引起了不少文化上的誤解和社會上的隔離。

 

 

Together with Centre fellows Prof Wyman Tang and Prof Janice Lau, she led two recent publication projects as part of her Knowledge Transfer Project "Multiculturalism in Action" (MIA). The two books "What are we celebrating? Multicultural Festivals in Hong Kong" (2017 Wheatear), and "The ICONIC Mums Kitchen: Tastes of intercultural Hong Kong" (2018 Department of Anthropology, CUHK) shared the vision of making cultural knowledge accessible to all, regardless of ethnic background. They believe that the first step is to have the same set of information available to all, and hence they insisted on publishing bilingually. They highlighted the importance of partnership with ethnic minority communities in raising cultural diversity awareness in Hong Kong, especially in creating a common ground among different ethnic communities.

譚教授與中心研究員鄧偉文教授及劉影翠教授在知識轉移項目多元文化行動計劃MIA)下出版了兩書籍,分別為<<我們在慶祝什麼?香港的多元文化節>>2017麥穗),以及 <<ICONIC媽媽廚房:跨文化香港滋味>>2018年香港中文大學人類學系),目的在分享文化知識,打破族群之間的壁壘。研究者們認為,邁向理解第一步是所有人都獲得相同的資訊,因此他們堅持雙語出版。他們強調與少數族裔社區建立夥伴關係對提高香港文化多元化意識的重要性,特別是在不同族群之間建立共通點。

 

 

Professor Tam emphasized in particular the realization of positive ethnic relations through intersubjective experiences, and due to a lack of intercultural education in the school curriculum, most students and teachers have little exposure to ideas and practice of multiculturalism. The second step to intercultural education is therefore making socially meaningful relations a reality for most people. The two books they published aim to create a safe and enjoyable educational environment in which participants can take part in each other's festivals, and try their hands on cooking each other's foods. In conjunction with the publication of the books, the MIA team has carried out multimedia presentations in schools in different parts of Hong Kong, as well as co-organized multicultural carnivals in housing estates in different districts. These are carried out in consultation with different ethnic partners, and together these activities hope to bring intercultural education to Hongkongers regardless of class and ethnic backgrounds, and ultimately make transculturality a sustainable and realizable goal.

譚教授特別強調通過主體經驗實現良好、積極的族群關係。由於學校課程缺乏跨文化教育,大多數學生和教師幾乎沒有接觸過多元文化主義的概念與實踐。跨文化教育的第二步是使具有社會意義交流成為現實,讓大眾可參與其中。研究者出版的這兩本書旨在創造一個安全、愉快的教育環境,讓參與者可以參與彼此的節日,並嘗試烹飪彼此的食物。在出版書籍的同時,MIA團隊在香港各的學校進行多媒體演,並在不同屋苑辦多元文化嘉年華會。這些活動是在與不同族群合作夥伴的協商下進行的,希望給香港人--不分階級和族群背景--帶來跨文化教育,讓跨文化成為可持續和可實現的目標。

 

 

 

 

storyofthemonth jan2019

Photo caption: The MIA team's book launch at the CUHK Commercial Press Bookstore on Nov 28, 2018 where they discussed views on interculturalism and the role of academics in promoting social justice.

文字說明:MIA團隊於20181128日在香港中文大學商印書館舉行新書發佈會,討論了跨文化主義和學術界在促進社會正義方面的作用。

  

 

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Story of the Month - December 2018

Story of the Month - December 2018 

每月故事 - 二零一八年十二月

Centre Fellow Professor Song Jing serves Gender Studies Programme, The Chinese University of Hong Kong as an Assistant Professor. Her research interests include gender, family, work, migration, urbanization and market transition.  Her research covers topics of women's self-employment and entrepreneurship, land development and property rights, dating, cohabitation and marriage, and family relations.

中心研究員宋婧教授為香港中文大學性別研究課程的助理教授。她研究性別、家庭、就業、人口遷移、城鎮化以及中國的市場轉型。她的研究範圍包括女性的自僱和創業活動,土地使用和權益,婚戀觀念和家庭關係等社會現象。

 

Her recent research examines the role of female cadres in rural politics in three Chinese villages that have been rapidly industrialized and urbanized in recent decades. She also examines how structural constraints and personal traits have interacted with each other in the different contexts of women’s political participation.

她近期的研究關注在中國農村近數十年工業化與城鎮化過程中女性幹部的角色。她探討了在三個村子的不同的地域經濟環境下結構性因素和個人特質如何互動從而影響女性的政治參與過程。

 

Professor Song has presented different images of rural female cadres in China’s countryside in the process of industrialization and urbanization. In some cases, women cadres did not benefit much from the political capital of their fathers and husbands. Their political engagements have relied more on personal characteristics such as entrepreneurial talents and intermediating skills, and their economic performance and administrative capabilities.

宋婧教授的研究呈現了在農村工業化與城鎮化進程中不同的女性幹部形象。在一些情況下,女性幹部的政治參與沒有直接受益于男系親屬如父親與丈夫的政治資本。她們的個人特質如企业经营管理能力和調解能力,以及在經濟活动和行政方面的表现,在政治參與中發揮着更为重要的作用。

 

 

Over time, governments have adopted different priorities and requirements for women to become political activists and role models. When rural industrialization and urbanization became the priorities of local governments under the market reforms, these historical moments provided women with certain opportunities to realize upward social and political mobility beyond conventional women’s tasks.

在不同的歷史時期,政府對女性幹部和領袖角色有過不同的期待與要求。當改革開放以來工業化與城鎮化成為農村基層政府的首要任務,女性幹部得以利用這些歷史機遇在一定程度上擺脫傳統的性別分工,實現從政方面的向上流動機會。

 

However, it is still common for women to occupy marginal positions in the grassroots leadership and they are expected to play supportive and “intermediating” roles. The persisting patriarchal norms remain a major source of frustration among women cadres, and some choose to conform to the virtuous womanly image to achieve a good reputation that is essential to their cadre work.

然而,女性幹部往往在基層社區政治中佔據邊緣性的崗位並且承擔支援性和調解性的工作。父權文化依然使許多女性幹部對於她們在公共領域中的活動感到為難,而有些女性幹部則選擇遵循傳統性別角色規範來維護自己的形像以利於她們的從政活動。

 

 

   Storyofthemonth Dec2018

 

Caption: Farmland in Harvesting. (Photo credit: SONG Jing)

 

文字說明:收割中的田野(圖片來源:宋婧

 

 

 

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Story of the Month - September 2018

Story of the Month - September 2018 

每月故事 - 二零一八年九月

 

Centre Fellow Professor Tam Wai Ping serves the Department of Fine Arts, The Chinese University of Hong Kong as an Associate Professor. He is also the chairman and one of the founders of Art Map, and works as an independent art curator. Professor Tam experiments with various media in art, but his works of installation, photography, and environmental art are more notable. His projects are varied in themes, ranging from the self to society. Professor Tam explained that his notion of art serves two approaches mainly; one allows individuals to connect with their mind and consciousness, and the other through public engagement, connects communities through lenses of art.

中心研究員譚偉平教授為香港中文大學藝術系副教授。同時,他也是藝術地圖的主席和創始人之一,並為獨立藝術策展人。譚教授在藝術中嘗試各種媒體,他的裝置藝術、攝影和環境藝術作品尤為引人注目。他的項目主題從自我社會,多種多樣。譚教授解釋說,他的藝術觀念主要有兩種想法:一來如何讓個人自我意識並與之相連,二來通過公共參連接人與社會的關係。

 

Professor Tam’s early work explores the definition of “Real”, to search the situational difference between fact and reality. He has been finding ways to contextualize history and contemporary life, exploring the relationship between “Individual and Land”, and leading to the investigation of “Modernity” in Asian values.

通過尋找事實與真實間的情景差異,譚授的早期創作探索何謂真實。他一直在尋找歷史當代生活之間的脈絡,探討人和土地的關係,並亞洲價值的觀理解現代性的意

 

His more recent interests examine relationships between “Text”, “Object” and “Image” which re-evaluates how art can serve as a cognitive experience. His installation in 2015 entitled “Dream No Dream” is the outcome of his experimentations to find epiphany by observing other people’s lives through their sleep. In the spring of 2007, he went to Tokyo and entered the homes of local people at night to quietly watch them sleep. Through this he came to realise that there was love (craving), suffering, ignorance, clinging and birth in lives, but still he has not achieved enlightenment and he found life to be but a bigger dream beyond a dream. Wakefulness is only another big dream, but people tend to think they have already achieved awakening. He recognises there are true images, awareness, awakening and death in a dream.  In “Dream No Dream” these are put in four different rooms for the audience to interpret on their own.

他最近的研究興趣是文本物件三者間的關係,反思藝術如何作為一種認知的體驗。他在2015年的裝置作品(題為夢非夢)是他通過靜觀別人睡覺所得到的頓悟。2007年春,他去到東京,並在晚上進入當地人的家中,靜靜地觀看他們睡覺。通過這次驗,他開始意識到生命中有愛(渴望)、苦、癡、取(執著)、生,反觀自己卻未能得到大覺,領悟人生其實只是一場夢外之大夢。覺醒只是另一個大夢,但人們往往認為他們已經醒覺。他意識到,夢中有真相、覺、悟和死亡。在夢非夢裝置作品,以上四個元素被分佈於四室,以供觀眾自我領會。

 dreamnodreamSept

Caption:  Dream No Dream by Tam Wai Ping.  Artist Statement: A dream is where we want to clarify what is unclear; reality is where we do not want to clarify what is already too clear…   (Photo Credit: Tam Wai Ping)
 圖片說明:夢非夢 譚偉平作品。藝術家陳述:夢是那種不清楚而想弄清楚之事,而現實是那種太清楚,但不想弄清楚的事情… …(圖片來源:譚偉平)

 

In his other curatorial projects engaging with the community, Prof Tam invited artists to create sculptures and installations as a way of bridging communities. For example, in the “Wishing Tree” project at the Hong Kong Children’s Hospital, the public write and hang cards of encouragement on the tree, bringing much hope and strength to children patients who are on their journey of recovery.

在他與社區合作的其他策展項目中,譚教授邀請藝術家創作雕塑和裝置,以作為鏈接社區的橋樑。例如,在香港兒童醫院的“許願樹”項目中,公眾在樹上寫下並懸掛鼓勵卡片,給那些正在復甦的童帶來希望和力量。

 

WishingTree01Sept

 Caption: Wishing Tree by David Rittinger. (Photo credit: Tam Wai Ping)

 文字說明:許願樹 - David Rittinger 作品(圖片來源:譚偉平

  

Professor Tam has also invited a group of ceramics artists—Fiona Wong, Ray Chan, Ben Yau, and Connie Tsang to create the artwork “Ceramic Leaves”, in order to allow the public to be more in touch with nature and to understand the local floras and insects. 

譚教授還邀請了一群陶瓷藝術家- 黃麗貞陳思光丘文彬及曾秀英一同創作了陶瓷葉子,以便讓公眾能夠更了解大自然和地的植物

 

CeramicLeaves01Sept

 Caption: Ceramic Leaves by Fiona Wong, Ray Chan, Ben Yau, and Connie Tsang   (Photo credit: Tam Wai Ping)

 文字說明:陶瓷葉子 - 黃麗貞、陳思光、丘文彬及曾秀英作品(圖片來源:譚偉平)

 

 More details of Professor Tam’s projects can be found on website of Department of Fine Arts, CUHK: http://www.arts.cuhk.edu.hk/~fadept/?academic-staffs=%E8%AD%9A%E5%81%89%E5%B9%B3&lang=zh-hant

 有關譚教授項目的更多詳情,請瀏覽香港中文大學藝術系網站:http://www.arts.cuhk.edu.hk/~fadept/?academic-staffs=%E8%AD%9A%E5%81%89%E5%B9%B3&lang=zh-hant

 

Professor Tam’s company website, Art Map can be found here:  http://www.artmap.xyz/tw/index.php

譚教授的公司網站Art Map可以在這裡找到:http://www.artmap.xyz/tw/index.php 

 

 



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Story of the Month - August 2018

Story of the Month - August 2018 

每月故事 - 二零一八年八月

In spite of its claims to being a global city, Hong Kong society suffers from significant racism. Africans currently living in Hong Kong have come from over 30 countries but little is known about them, as negative mainstream media portray them as being poor asylum seekers, and even criminals. While China and African countries have established extensive economic, sociocultural, and political partnerships, the idea of Africa as the poor continent defined by suffering still shapes the public imagination in Hong Kong. It is a fact of daily life that Africans in the city are targets of explicit discrimination.

儘管香港自稱為國際大都會,社會上仍存在明顯種族歧視。目前居港的非洲人士來自超過三十個國家,但一般大眾對他們的認識少之又少。在主流媒體的負面描述下,他們往往被標籤為貧窮的尋求庇護者,甚至罪犯。當中國與非洲多國已廣泛建立經濟、社會文化和政治合作夥伴關係,在大眾的想像中,非洲仍是個充滿苦難的貧窮大陸。事實上,非洲人士在香港每天都遇到明顯的歧視。

 

With an aim to raise cross-cultural awareness and create inter-ethnic dialogue, the project Africa in Hong Kong was carried out in Fall 2017. The project was spearheaded by Centre Fellow Prof. Sealing Cheng, and was made possible by a generous funding from the Robert H.N. Ho Family Foundation. This project used art as a platform for mainstream society to interact with Africans in Hong Kong as cultural and social actors. With collaboration among various units, including the Department of Anthropology and School of Journalism and Communication of the Chinese University of Hong Kong, the African Studies Programme of the University of Hong Kong, and SKH Bishop Baker Secondary School, the project engaged university students, secondary students, and African dance and drum instructors in a series of workshops, outreach programs, and public performances. Weekly seminars were co-taught by researchers who understood the everyday and institutional marginalization of Africans in Hong Kong. These inspired the energy and passions of university students who subsequently transferred their newfound knowledge to secondary students in outreach programs. The collaborative sessions culminated in three public events: LCSD’s World Cultures Festival in Tsim Sha Tsui, Freespace Happening in West Kowloon, and Africa in Hong Kong Fair in Yuen Long, when local Chinese residents enjoyed hands-on experience in African drumming and dancing.

為了提高跨文化意識及開啟族群之間的對話,本中心成員鄭詩靈教授在2017年秋天開展「非洲在香港」計劃,並獲得何鴻毅家族基金的慷慨資助。這個計劃以藝術為平臺,讓主流社會與非洲人士進行文化和社會交流。合作單位包括香港中文大學人類學系、新聞與傳播學院,香港大學非洲研究課程,以及聖公會白約翰會督中學。這個計劃推動大學與中學生,非洲舞導師和非洲鼓導師,透過一系列工作坊、社區外展活動和公眾表演相互合作、共同學習。每週的研討會,由研究非洲人士邊緣化情形的研究人員作導師,啟發大學生的動力和熱情,讓他們把自己學到的新知識,在社區外展活動中傳授給中學生。本計劃在三個公眾活動之下完美結束,包括:在尖沙咀舉辦的康文署世界文化節、西九文化區自由約,以及在元朗舉辦的「非洲在香港」嘉年華。來參加的街坊對親身體驗非洲鼓和舞蹈都樂在其中呢。

 

The project was a pioneering effort to promote knowledge of the creative and artistic talents of the Africans in Hong Kong, and with it, awareness of the cultural textures and social diversity of African societies. This two-tier training model of cross-cultural exchange has successfully bridged academia and the local communities, and demonstrated the transformative potential of creative art in developing a more inclusive approach to diverse ethnic cultures.

作為一個先導計劃,「非洲在香港」推廣大眾對居港非洲人的創意及藝術才華的認識,以及提升大眾對非洲文化及社會多樣性的理解。跨文化交流的雙層培訓模式成功為學術界和社區築起橋樑,並展示了創意藝術如何在發展包容文化方面的潛力。

 

 

Follow this link to view a documentary of the project: https://vimeo.com/273844118

點擊此鏈接查看本計劃紀錄片:https://vimeo.com/273844118

   Storyofthemonth Aug2018

 

Ugandan drum instructor and university students teaching the djembe drum at the LCSD World Cultures Festival Photocredit: Sealing Cheng

烏幹達鼓導師與大學生在康文署世界文化節教導市民打非洲鼓 (照片鳴謝鄭詩靈)

 

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Story of the Month - May 2018

Story of the Month - May 2018 

每月故事 - 二零一八年五月

 

CUHCM Fellow Professor Sharon Wong’s recent study concerns the only complete Dragon Kiln in Hong Kong, Castle Peak Dragon Kiln, Tuen Mun. It was initially inspired by her observations of the conservation issue of dragon kilns in Singapore, which she came across while doing her PhD in National University of Singapore. Of the several Dragon Kilns in Singapore, unfortunately, only two, the Thow Kwang Dragon Kiln and Guan Huat Dragon Kiln, are still functioning today. She conducted interviews with the Chua family of Sam Mui Kuang Pottery and learned that the dragon kiln in Sam Mui Kuang was demolished because of urban development in the 1990s. The stories of dragon kilns in Singapore inspired her to embark on a project exploring issues of conservation and cultural heritage in city development in Hong Kong and South China.


城市歷史文化與媒體研究中心成員黃慧怡教授,對香港的屯門青山龍窯開展的研究, 主要受到新加坡龍窯保育問題的啟發。她在新加坡國立大學修讀博士學位期間,有機會考察當地龍窯,可惜除了「陶光」與「源發」兩條龍窯至今仍保存並使用外,其他龍窯在城市發展過程中並沒有保存下來。黃教授訪問了新加坡「三美光」陶瓷的蔡氏一家,他們家的龍窯在1990年代因城市發展被拆除。新加坡龍窯的故事啟發了黃教授開展這個研究計劃,從龍窯探討文化遺產保育與香港及華南城市發展的關係。

 

Professor Wong strongly opines that cultural heritage conservation and urban sustainable development are not necessarily opposing forces but can potentially be aligned, by focusing on heritage as a means to connect with people. Many are of the opinion that history and cultural heritage is a thing of the past, and irrelevant with the present. However, Professor Wong argues that cultural heritage could provide people, especially those experiencing rapid urban development, a new cultural identity based on the emotional link with cultural heritage and shared collective memories of the past.


黃教授認為,文化遺產的保護與城市發展不一定是對立的;正好相反,因為文化遺產保護可將不同的人與社區連結,有助城市的可持續發展。許多人認為歷史與文化遺產是過去的事,與當下無關,但黃教授認為,文化遺產可給予生活在城市裡的人建立情緒連結,從集體記憶建構新的身份認同。

 

The Castle Peak Dragon Kiln in Tuen Mun was built in the 1940s. But ceased production in the early 1980s. However, its conditions remain excellent for conservation as a memory of Hong Kong as a key site for ceramics production. The Castle Peak Dragon Kiln had in the past served as a key site for the amalgam of traditional ceramics expertise from Shiwan, Guangdong, to Hong Kong. It was identified by the Hong Kong Government in the 1980s as a potential living museum. Today, with the upcoming Hong Kong-Zhuhai-Macau Bridge linking different cities in the Pearl River Delta, the Castle Peak Dragon Kiln sitting en route can potentially become a place that evokes routes of material and cultural exchanges in the past as well as present, with Hong Kong being the estuary of these exchanges.


屯門青山龍窯建於1940年代,雖然已於1980年代停止生產,但它具備良好的保育條件,為香港作為陶瓷生產中心提供歷史證明。位於屯門的青山龍窯,是陶瓷傳統技藝從廣東石灣到達香港發展的重要地點。在1980年代,香港政府曾建議屯門青山龍窯可建成生活博物館。港珠澳大橋將於今年開通,珠江三角洲多個城市將連接起來,青山龍窯位處大橋沿線,有潛力成為地區性標誌,喚起人們瞭解香港自過去到現在如何成為物質與文化交流的匯點。

 

The Castle Peak Dragon Kiln effectively embodies Hong Kong as a place of many but one - not just in terms of the physical location, but also in different kinds of Shiwan ceramic products all fired in one kiln. Embedded in this rich history, this strong cultural legacy of Hong Kong manifested in ceramic production could help us better understand the Hong Kong of today.


屯門青山龍窯地理位置優越,集石灣各陶瓷類型生產於一身。它本身的歷史,象徵著香港多元而融和的文化傳統,有助我們重新思考今天香港社會的本質。

 

If more resources could be directed into conserving Castle Peak Dragon Kiln as a heritage site, Professor Wong argues, there is great potential for promoting the local arts and heritage scene, especially with regards to ceramics.


黃教授認為青山龍窯的可持續發展潛力大,若有更多資源投放到保育青山龍窯文化遺產中,可大大推動與陶瓷相關的本地文化遺產與藝術發展。

 

Storyofthemonth May2018

Inner Part of Castle Peak Dragon Kiln, Tuen Mun (Photo credit: Sharon Wong)

屯門青山龍窯內觀(黃慧怡攝)

 

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