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Your ultimate guide to the Cheung Chau Bun Festival

Header image courtesy of GY Mak (via Shutterstock)

Drawing in hundreds of eager spectators and curious tourists from all over the globe, the annual Cheung Chau Bun Festival (包山節; baau1 saan1 jit3) is undoubtedly the biggest occasion of the island—and a grand affair it is, too. A centuries-long practice that encompasses a number of exciting celebrations, the Cheung Chau Bun Festival has a rich cultural history. Read on to find out how attempts to drive away the bubonic plague formed the roots of the deeply significant and highly fascinating annual celebration we now know as the Cheung Chau Bun Festival.

Overview of the Cheung Chau Bun Festival

Spanning across the fifth to ninth days of the fourth Lunar month of every year, the Cheung Chau Bun Festival is actually part of a larger series of celebrations known as the Da Jiu Festival (打醮; da2 jiu3)—or the Tai Ping Ching Chiu (太平清醮; taai3 ping4 ching1 jiu3) in full—which is a colourful festival practised by Taoists.

At its core, the parade honours the martial deity Pak Tai (北帝; bak1 dai3). His real-life counterpart was believed to have been a Taoist prince from the Shang dynasty. This “northern emperor” is worshipped by islanders as a great god with the power to bring them smooth sailing on voyages and bountiful catches.

Surrounding his permanent abode—the Pak Tai Temple, nestled within the upper peninsula of Cheung Chau—Da Jiu festivities call for the construction of a temporary bamboo shrine, where Pak Tai is presented to the public over the course of a few days. Right beside the holy checkpoint is the temple playground, which becomes converted into bun-snatching tournament grounds, with an elaborate bamboo theatre right beside it.

Epitomising the atmosphere of “hot and noisy” (熱鬧; yit6 naau6—a literal translation that means “rowdy”), the roster of activities is constantly rolling at a lively pace. It includes mobile worship rituals, a vibrant piu sik parade (飄色巡遊; piu1 sik1 ceon4 jau4), lions and dragon dances (麒麟舞; kei4 leun4 mou5), an effigy burning ceremony, Cantonese opera plays, as well as the ever-iconic and highly anticipated bun-snatching competition. Delightful activity stalls and educational booths are also open to the public nearby.

Occupying a place on Hong Kong’s official Intangible Cultural Heritage list since 2011, the Da Jiu Festival has been recognised as a facet of local culture to be conserved and propagated amongst future generations.

History of the Cheung Chau Bun Festival

Threading mystic island folklore with a dark moment in Hong Kong’s past, the beginnings of the Da Jiu Festival saw its first sparks during the late Qing dynasty. It was originally held in the Tai Ping Shan area that now comprises Sheung Wan and Mid-Levels , where the practice began as an exercise of devotion to the gods in exchange for protection from evil spirits and ghastly pirates. 

In the earlier days, the event that took centre stage (figuratively and literally) was the parading of the Pak Tai statue. Carved from black-coloured wood, a likeness of the deity is draped in a silky red ensemble and placed atop an embellished sedan to be hoisted around the entire village. As the procession continues, the statue is meant to help appease wandering spirits, whilst Taoist priests and observing devotees trail behind.

So, when exactly did the festival make its way to Cheung Chau? Having been interwoven into the history of Cheung Chau for well over a century now, the Da Jiu Festival was brought over by the Hailufeng community as a result of tightened restrictions around ceremonial rituals, put in place by the colonial government in the late eighteenth century over safety concerns and potential fire hazards.

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Beliefs and rituals

Taking place across a period of a few days, the island-wide festival begins with the aforementioned march that escorts the sacred Pak Tai statue around to diffuse blessings all around. Families, residents, and curious visitors gather around the display altar to pay their respects, dedicating runes of worship like joss paper, incense, and food offerings. Theatrical re-tellings of local legends and other Cantonese opera plays are on offer at the neighbouring bamboo theatre to entertain revellers and festival-goers.

Next to the temple set-up, three five-metre-tall papier-mâché figures are planted to watch over the events. First of the trio is the King of Ghosts, better known as an incarnate of Guanyin (觀音; gun1 jam1), the Chinese goddess of mercy, whose role is to oversee the wandering spirits accepting the blessings of Pak Tai. Flanking the two sides are statues of the God of Earth and God of Mountains, representing prosperity and good weather.

Ornate and impressive as they are, these crafted models are due to be cremated at 11 pm on the last day of the festival. The bonfire is held in conjunction with a grand vegetarian feast, the chanted Taoist invocations a swansong to assuage spirits with an amicable exit from our realm, led by the King of Ghosts himself.

As a show of abstinence in representing fervour, dedicated practitioners will stick to a meatless diet for the entirety of the celebratory period. Most eateries also see to it that their menu temporarily swaps out omnivore-targeted items with plant-based alternatives, with dim sum parlours sticking to veggie spring rolls and cha chaan tengs trading their steak rice for sauced-up spaghettis. Even juggernaut fast-food diner McDonald’s released a McVeggie burger with a mushroom patty, served exclusively for the festival.

Piu sik parade

Described by the Hong Kong Commercial Daily as “simply a cheerleading crew for the gods,” the idea of celestial icons touring around Cheung Chau certainly brings to mind the parading of the Pak Tai statue. Translated as a “floating colours parade,” the piu sik parade (飄色巡遊; piu1 sik1 ceon4 jau4) is an extremely popular event occurring on the second-last day of the festival timetable.

Akin to a pageant, tiny children are decked out in themed outfits emulating fantastical characters from Chinese folklore. Hoisted onto a steel pedestal atop a crafted pushcart, they must then stand still as the cart is pushed, smiling and waving the whole time—the entire ordeal can last up to four whole hours!

Ingeniously disguised, the contraption gives the illusion of hovering, but it is not without elbow grease from the palanquin bearers who orbit around the sweaty “floating” character. Participants branch into a number of piu sik squads, each choosing a theme to exhibit before figuring out the precise mechanics of their float.

Coming from a lineage of blacksmiths that have been working in Cheung Chau for three generations now, Wong Shing-chau notes the unique design and building process of each construction, stating that “every group has its own set of requirements.” From welding the first structural frames to the costume and make-up, the final product is a show of collaborative craftsmanship and creativity amongst members of the community.

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Having been introduced to the island festival for over 90 years now, piu sik ongoings have transformed into a competition referred to as “The Bodhisattva Run,” whereby float crews are pitted against each other to cover ground and perform rituals around Cheung Chau. Groups are able to take the win by being the first ones to complete all the quests along the way, and make it back to the shrine first.

However, being the fastest team doesn’t necessarily guarantee the most fame and attention, as reflected in the fascination towards the growing list of themes. As times shifted, traditional tales began to fade in prominence, and audiences gravitated instead towards piu sik designs that showcase impersonations of celebrities, satirical caricatures of contemporary figures or politicians, and pop culture stand-ins.

Bun-snatching competition

Tall conical shadows loom over the jam-packed football pitch as loudspeakers grating feedback announce the climbers who are about to try their luck at becoming the fastest to race to the apex of a “bun mountain” (包山; baau1 saan1). Eager hordes shove their way to the front, phones held high for the critical moment. This is what they have been waiting for—the final lap to round off the festivities with a banging gong.

Perhaps the biggest reason why the Cheung Chau Bun Festival draws upwards of 60,000 tourists every year is the adrenaline rush-inducing bun-snatching competition. Athletes scale a gargantuan, hand-built peak bearing a façade of peace buns (平安包; ping4 on1 bau1), scrambling to pluck and pocket as many as they can on their race to the top. The higher the bun you latch onto, the more promising the fortune.

Bun-snatching as a sport is believed to have originated from cheung gu (搶孤), a practice that symbolises the snatching of food from lonely wandering spirits, which was meant to bring the bandit’s family good luck. In the past, these quirky towers used to stretch up to 60-feet-tall and consisted of bamboo poles fastened together—up until the disastrous tumble of 1978, that is. 

As there was little to no regulatory oversight into the bun-scrambling competitions, people were accustomed to a free-for-all commotion, where willing adults would simply free-climb up the mountains en masse. One night in 1978 saw the toppling over of a mountain that injured 100 individuals, causing a brief hiatus of the arrangement that lasted until 2005.

Starting afresh, the return of the event was accompanied by a stringent upgrade of safety requirements and reasonable concerns regarding the food waste produced. Bamboo joints were traded for steel frames, and reusable plastic buns were attached in place of the edible ones. The shortlist of climbers was cut down to 12, and allowed only well-trained personnel to participate.

Although the competition equipment has been altered, the importance of the buns still remains. Doling out endless rows of fluffy steamed buns stamped in pink lettering, resident pastry shop Kwok Kam Kee has been the official provider for the Cheung Chau Bun Festival for over four decades. Its selection comes with lotus, red bean, and sesame paste fillings. 

At the final stroke of the festival, the master cake makers offer up their products as souvenirs, giving away hundreds of peace buns to the highly blessed crowds.

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Future of the Cheung Chau Bun Festival

As the crowds evaporate, and the smell of salt grows thicker in the night air, Cheung Chau seems to slowly tread back into its usual aura of placidity, lying dormant in a sea of calm for another year. Like the waves that crash against the coastline, the celebrations have turned and shifted along with the tides of change, brought upon by the marching forward of time.

What was once a demonstration of faith in the gods in exchange for protection is now a delicate balancing act of preservation—but also aggrandisement that some fear may one day teeter into exploitation. Religious emphases have shifted to mould itself against the ambition of drawing in economic gains, irrevocably injecting commercialisation into part of the festival. Despite the movements in its underlying priorities and values, it is safe to bet that the Cheung Chau Bun Festival will forever have a foothold in the culture of Hong Kong.

Always down for an adventure, Alisa’s general approach to life (and anything, really) is to “just go with the flow.” She believes that the most unforgettable moments are the most spontaneous ones. One thing she will always be certain of, however, is her love for the band My Chemical Romance and potato-based food.

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Hong kong tourism board, instagrammable, cheung chau: enjoy the best of old-world charm and trendy attractions breathing new life into the island’s laid-back vibe.

Written by South China Morning Post (Morning Studio)

The small, dumb-bell-shaped island of Cheung Chau, or ‘long island’ — covering almost 3 sq km — is well-known for its distinctive waterfront, crammed with gently rocking moored fishing boats and seafood restaurants. The island’s sandy beaches and scenic family-friendly hiking trail have always been appealing to those keen to escape the hectic city life. It’s no surprise that the last couple of years have seen younger people moving to the island to call it home, bringing with them a demand for contemporary, Instagrammable cafes. These vibrant new, hip joints sit in harmony alongside the island’s timeless, laid-back charms such as Pak Tai Temple — established in the 18 th century by fisherfolk to honour the Taoist ‘God of the Sea’ — which is the traditional venue for the island’s vibrant annual Cheung Chau Jiao Festival, also known as the Cheung Chau Bun Festival, activities.

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Tung Wan and Kwun Yam Wan

The ‘handle’ of Cheung Chau’s dumb-bell shape is home to the ferry pier, the bustling commercial and residential area packed with alleyways of shops selling knick-knacks and locally designed accessories, cafes, bars and restaurants, and village houses. Only a short walk east takes you to the long, crescent-shaped stretch of beach called Tung Wan. The island’s water quality is good and on a clear day you can see southern Hong Kong Island. A short walk further south leads to a coastal walkway below Warwick Hotel with a group of Bronze Age rock carvings — among a series discovered on sea-facing rocks on Hong Kong’s different outlying islands — a declared monument featuring stylised geometric patterns, some resembling human or monster forms. Keep walking to reach Kwun Yam Beach, which offers a windsurfing centre. This small, but popular beach attracts many water sport enthusiasts, including stand-up paddlers, kayakers and kite-surfers. It is served by several beachfront bars and cafes where people can unwind as they watch the sea.

Mini Great Wall

Kwun Yam Beach is the starting point of the Mini Great Wall, the island’s easy-going, 850-metre-long paved hiking trail running behind Kwun Yam Beach and the Chi Ma Hang headland, which follows the southeastern coastline. Enjoy panoramic ocean views while passing beside numerous stunning rock formations, which resemble the shape of a vase, elephant’s head — and even a skull. The area is popular with birdwatchers, who come to admire the many migrating species that stop here to rest on the island in-between making long-distance ocean-crossing journeys.

San Hing Street and Pak She Street

San Hing Street and Pak She Street have transformed over the years, rejuvenated by the influx of new, younger residents who have decided to call Cheung Chau home. Spend time exploring enticing craft shops selling handmade items created by local artists and trendy new cafes offering Instagrammable treats including cold brew and homemade Earl Grey tea chiffon cakes. Be sure to try the red-stamped ‘lucky buns’, filled with different sweet pastes such as sesame, red bean or lotus seed. These iconic snacks are used during the island’s annual bun festival, but are also steamed and sold all year round.

Tai Hing Tai Road and Tai San Praya Road

Head to Tai Hing Tai Road and Tai San Praya Road, on the island’s southwestern village waterfront where you can savour traditional delights such as Cheung Chau’s famous curry-flavoured fish balls, fisherman’s barbecued squid and mango mochi — glutinous rice balls with a creamy mango filling. These old-time snacks remain a draw for both young and old alongside the nearby, trendy cafes that have since opened on the island.

Pak Tai Temple

The historic Taoist temple — one of the oldest in Hong Kong and also known as Yuk Hui Temple — lies to the north of the main village area, where Pak She Street meets the Cheung Chau Family Walk. The impressive structure was originally built in 1783 by the island’s fishing community to honour Pak Tai — also known as ‘King of the North’ — their protector and patron deity. The building includes a colourfully ornate ceramic-tiled roof with two green-and-gold dragons standing guard along the ridge. The main square outside Pak Tai Temple hosts the much-cherished Cheung Chau Jiao Festival or Cheung Chau Bun Festival. The third national list of Intangible Cultural Heritage in 2011 features the hugely popular challenge where brave competitors battle one another to climb ‘bun towers’ and claim as many buns as possible.

North Lookout Pavilion and Pak Kok Tsui

Cheung Chau Family Walk heads from Pak Tai Temple to the hilltop on the island’s northern side. This short but steep stretch takes hikers to Cheung Chau North Lookout Pavilion, the island’s highest point. From here you can savour a panoramic view of the island’s tombolo formation — a perfect spot for Instagram enthusiasts. On a clear day, you can look across at Lamma Island on one side, and Tsing Ma Bridge, connecting Lantau Island to Hong Kong’s urban areas on the other. Sunset views from here are not to be missed. Further east along the pavilion, more adventurous hikers can head to Pak Kok Tsui, a small peninsula with a small beach called Tung Wan Chai, which is a popular scenic spot. From here, hikers can continue along the path through a little forest and back to the bustling part of the island.

San Hing Praya Street and Pak She Praya Road

Walk northwards along the waterfront, past the main pier and rows of hanging sun-dried fish and you will reach San Hing Praya Street and Pak She Praya Road, home to many Cantonese-style seafood restaurants providing mouth-watering al fresco dining with stunning sunset sea views. Diners can choose items from the menu, or even bring freshly caught seafood bought from the island’s fishmongers, and have it cooked to order. You will also find French, Thai and Indian restaurants here serving a wide range of savoury seafood delights.

Getting to Cheung Chau:

Scheduled ferries depart for Cheung Chau from Central Pier No. 5, which is accessible from MTR Hong Kong Station. The trip takes 35 to 60 minutes.

Leaving from Cheung Chau:

The last ferry back to Central departs at 11:45pm from Monday to Saturday, and at 11:30pm on Sundays and public holidays.

More Routes

Special information for Labour Day Golden Week (1 – 5 May 2024)

• Major sightseeing attractions opening hours
• Public transportation and boundary-crossing services
• 1 May Pyrotechnics display special information: Vantage points and transportation adjustments 

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App Detail » History Trip Go Easy

Published by: Hong Kong Education City Limited

• Price: FREE!
• Current Version: 3.0.1
• Released: October 24, 2017

- Update e-learning resources on Cheung Chau Jiao Festival - Bug Fix

App Description

Adopting e-learning in humanities subjects, which is one of the key focuses in the revised Personal, Social and Humanities Education (PSHE) Key Learning Area Curriculum Guide (Primary 1 – Secondary 6) (CDC, 2017), can enhance the effectiveness of learning and teaching. More specifically, the use of electronic technologies not only provides easy access to information which enables learning to take place beyond the classroom and school hours, but also enhances engagement in learning through sharing and collaboration and thereby facilitating the development of higher order thinking skills (e.g. problem solving and creativity). At the same time, it can support the construction and application of knowledge and allow students to be more autonomous in their learning process. The mobile app provides e-learning resources on Cheung Chau Jiao Festival and other field trips, including parts for preparation before field trip, routes for field trip, and extended learning. In addition, the field trip activities in the mobile app adopt augmented reality (AR) and virtual reality (VR), creatively incorporates e-learning into field trips and enhances students’ motivation to learn, and enables History learning to take place beyond the classroom and school hours. For example, students and teachers can experience the Jiao Festival anytime (including non-festival days) by using AR in this app to view the composite-scene parade in Cheung Chau or the arrangement of the festival area as if they were being there. Teachers can flexibly use this mobile app in the learning and teaching of History, thereby facilitating students’ self-directed learning and developing historical literacy, and cultivating the positive values and attitudes of taking up the responsibility of preserving antiquities and monuments, conserving cultural heritage and respecting for others. No part of this mobile app may be reproduced in any form for commercial purposes. We are grateful to publishers/organisations for permission to include materials in this app. We would also like to express our special thanks to the Intangible Cultural Heritage Office (ICHO) of Leisure and Cultural Services Department (LCSD), Dr TING Joseph Sun-pao, Dr KWONG Chi-man for their support (such as generously agreeing with the use of relevant video clip, sharing achievements of academic researches, etc.). Every effort has been made to trace copyright but in the event of any accidental infringement, copyright owners are invited to contact us so that an appropriate arrangement can be made.

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App Changes

• October 24, 2017 Initial release
• June 15, 2019 New version 2.1
• April 25, 2024 New version 3.0.1

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The Cultural Guide To Cheung Chau Bun Festival: Climbing Towers For Lucky ‘Bao’

With a name that rouses the appetite, one might be fooled to think that Cheung Chau Bun Festival is about food. As scrumptious as it sounds, Cheung Chau Bun Festival (包山節 – bao saan zit in Cantonese and 包山节 – bao shan jie in Mandarin) is steeped in folklore that began around a plague-swept time and has now become a festival celebrated on the small fishing island filled with fun activities, one that’s not to be missed!

What is Cheung Chau Bun Festival?

Cheung Chau Bun Festival or Cheung Chau Da Jiu Festival, occurring on May 26 & 27, 2023 , is a holiday celebrating the safeguarding of a particular island community in Hong Kong. During this time, parades, lion dances , and a penultimate bun tower competition are held.

One of the most popular Taoist celebrations in Hong Kong, every year it happens on the eighth day of the fourth month of the lunar calendar. May 26 is the highlight, when the bun snatching event takes place; on May 27, the scrambling final and awards ceremony will be held.

The festival began over a century ago when the people of Cheung Chau encountered a plague in 1894 that was detrimental to the well-being and longevity of the community . The villagers prayed at Pak Tai Temple which is devoted to Pak Tai, the god of the sea, for protection. They also carried statues of deities on the streets, which eventually drove away evil spirits and the plague altogether.

Today, the festival is a grand cultural spectacle filled with parades and more activities running for four days, with the celebration reaching climatic heights on the third day. The Cheung Chau Bun Festival is unrelated to Buddha’s Birthday even though they’re celebrated on the same day.

How did Cheung Chau Bun Festival start?

The beginnings of Cheung Chau Bun Festival was one of pain and suffering. A plague was running wild in the village of Cheung Chau and those who were out at sea were constantly met with pirates that ate at their livelihoods. In this turbulent wave of unfortunate events, the villagers sought protection by praying to Pak Tai, the god of the sea , and carrying statues of Taoist deities wherever they went to bring in good luck and protection. Some villagers would go the extra mile and dress up as a deity.

Their efforts didn’t go unnoticed, luckily. Soon enough, the plague wore off, evil spirits were driven away and the villagers lived a happy and harmonious life. The boisterous and lively celebrations that gradually took place over the years are a great mark to the ending of tough times , leaving the past behind and observing the ongoing blessed period.

How to celebrate Cheung Chau Bun Festival

Cheung Chau Bun Festival is a major attraction that draws in crowds from all over Hong Kong with a number of activities occurring over the multi-day celebration.

As the festival name suggests, buns are involved in the grand spectacle. Loads of white-coloured steamed buns made from flour, sugar, and water are produced from scratch. They’re sometimes filled with sweet condiments, like red bean, lotus and sesame paste, and marked with a red Chinese character that means peace.

The Bun Scrambling Competition (搶包山 – cheung bao saan in Cantonese / qiang bao shan in Mandarin) is the highlight of Cheung Chau Bun Festival that happens at midnight on May 26 (which is a public holiday for celebrating the Birthday of the Buddha), so many spectators visit Cheung Chau to watch and even participate! Towers as high as 90 feet are covered with up to 9,000 buns – participants compete to climb up and collect as many buns as possible . The higher the buns are located, the more points they’re worth. The towers are traditionally made using bamboo frames, but are now made from sturdier steel frames for safety reasons.

Adding to the rambunctious spirit of the festival is the parade that starts and ends at Pak Tai Temple, led by an image of Pak Tai himself. Performers dress as Taoist deities alongside a marching band, lion dance performances, and Flying Colour dancers. One may also witness children seemingly “floating” in the mass procession . Each float made of a metal rod carries two children dressed in costumes doing a balancing act, hence, they appear to be floating.

During the festival, only vegetarian food is consumed . Though it’s not related to Buddha’s Birthday, recognising him is observed by eating plant-based foods since both holidays share the same dates.

Other festivities include a Chinese opera performance at a makeshift theatre built near the Pak Tai Temple. Paper gods are also erected and part of the mass display honouring the deities. Burning incense and prayers of gratitude surround the area, too!

Where is Cheung Chau?

Cheung Chau is an island located 10km southwest of Hong Kong island. It is home to about 22,000 residents. The literal translation of Cheung Chau is “long island” and its nickname is “dumbbell island” (啞鈴島, a ling dou ) for its shape. The island is known for a string of colourful fishing boats that line the pier, giving a glimpse into the island’s fishing roots. The Hakka, Hoklo and Chiu Chow villagers used to live out on sampans and junk boats around Cheung Chau , selling fish to earn a living.

Other traditional Chinese festivals : Lunar New Year — Lunar New Year Fair — Birthday of Che Kung — Chinese Lantern Festival — Kwun Yum Treasury Opening Festival — Ching Ming Festival — Tin Hau Festival — Cheung Chau Bun Festival — Buddha’s Birthday — Birthday of Tam Kung — Dragon Boat Festival — Birthday of Kwan Tai — Qixi Festival — Hung Shing Festival — Hungry Ghost Festival — Mid-Autumn Festival — Monkey King Festival — Birthday of Confucius — Chung Yeung Festival — Winter Solstice Festival .

Header image credits: 三座大包山 via Wikimedia Commons

A hermit at heart, Agnes likes to connect with the world across various platforms that share a wealth of content on beauty, culture, lifestyle, and travel. She loves using the art of language to portray her voice and poor sense of humour whenever possible. When she’s not nerding around or head deep into a piece, you’re sure to find her spending time outdoors with friends and family or going down the Pinterest rabbit hole to find all sorts of inspiration she can!

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Flavours of Hong Kong

The festival spells life to the people of cheung chau.

Torchbearers of the Cheung Chau Jiao Festival

Every May, coinciding with Buddha’s Birthday in the fourth Lunar month, all eyes are on the massive Cheung Chau Jiao Festival. Tens of thousands of tourists and Cheung Chau islanders come to watch and participate in this lively and colourful traditional celebration, whose highlights are the Piu Sik (Floating Colours) Parade and the Bun Scrambling Competition. Beautifully-designed floats wind along the designated route on the island of Cheung Chau, while the Bun Scrambling Competition which takes place at midnight leaves audiences in awe, as athletes scale 14-meter “bun towers”, competing to grab the most lucky buns from the top of the tower.

The Festival spells life to the people of Cheung Chau. Young and old alike are eager to play their part, make their mark and pass on the beautiful traditions of the Festival. This year, we talked with senior members of the “Cheung Chau Pak She Street Association”, who have been behind the staging of the Floating Colours Parade for many years. We also spoke to the second generation family owners of the Kwok Kam Kee lucky buns store, about their Cheung Chau memories – and how they pass on the spirit of the Festival...

In 2011, the Festival was included in the third national list of intangible cultural heritage.

Origins of the Festival

The Cheung Chau Jiao Festival, is a Taoist memorial ceremony that is actually not unique to Cheung Chau. However, due to the special rituals of the festival in Cheung Chau, and the fact that (unlike many similar events elsewhere) it is organised every year, it has become the most famous activity of its kind in Hong Kong and Guangdong. In 2011, the Festival was included in the third national list of intangible cultural heritage, bestowing formal recognition for its huge cultural significance.

There are many versions of the legend behind the Festival; but the most widely-accepted one is that Cheung Chau was devastated by a plague in the late Qing dynasty. To drive away the veil spirits, the locals set up a sacrificial altar in front of the Pak Tai Temple to pray to their deities and to bring comfort to the departed souls from the land and the sea.

The residents also paraded deity statues along the village lanes. Their prayers were answered: the plague ceased immediately. Since that day, Cheung Chau residents have held the annual Jiao Festival to express their gratitude to Pak Tai for blessing the area with good health and peace.

Historically, the dates of the Festival were not fixed: residents had to ask Pak Tai which day after the Mid-Autumn Festival was deemed most propitious. Since the reunification of Hong Kong with China, the Buddha’s Birthday has been fixed as the 8th day of the fourth lunar month. With the approval of the gods, it was agreed that the Festival would be organised to fall during the Buddha’s Birthday holiday. As a result, visitors from Hong Kong and elsewhere can now enjoy a day off and participate in this yearly festive event in Cheung Chau.

Floating Colours Parade

Designers of theFloating Colours Parade

The Floating Colours Parade is a major element of the Jiao Festival. On the day of the Buddha’s Birthday, hand-crafted floats carry children dressed as various well-known characters – such as “Monkey King” (or Sun Wukong), the protagonist of the novel Journey to the West. In recent years, children have also been dressed as public figures or characters in TV dramas. The parade tours the island, accompanied by lion dancers and Qilins (mythical hooved chimerical creature known in Chinese and other East Asian cultures). Brothers Ching Yat Ming and Ching Yat Fan of the Cheung Chau Pak She Street Association, as well as its current chairman Leung Yung Kan, are living encyclopaedias of Cheung Chau and the traditions of its Floating Colours Parade. They have many stories to tell of taking part in the parades when they were young, and planning and designing floats when they were older.

For them and other senior inhabitants of Cheung Chau, the Jiao Festival is the biggest event in the island’s calendar: “If you want to reunite with old friends who have left Cheung Chau for some time, pick the day of the Jiao Festival! Cheung Chau islanders love to come back for the celebrations during this Festival. I would say the festive atmosphere is even stronger than at the Lunar New Year,” says Ching Yat Ming.

Casting for the Parade: Who to Choose as Performers?

Every year before the start of the Festival, the children were usually so excited they would stay up all night. “There used to be less entertainment in those days, so the children were all very happy whenever there were celebrations,” Yat Ming continues. The Cheung Chau Kwok Man School, where the Ching brothers studied, would be closed a few days before the Festival and become temporary sleeping quarters for the Police officers who were on duty during the Festival. On the day of the Festival itself, as soon as the children woke, they would rush to the Association’s centre to watch the preparations. Of course, if a child was fortunate enough to be selected as a performer, parading on a Float, so much the better.

Ching Yat Fan was selected as one such performer for many years. Later, his son also shared the same honour, being chosen more than ten times during his childhood. “Children who look chubby and cute are likely to be chosen,” explains Yat Fan. Yat Ming and Leung Yung Kan add jokingly that they have been unsuccessful for many years, and still feel bitter to this day! “Nonetheless, it was also fun and joyful being able to participate in the parade as flag bearers,” adds Yat Ming.

Nowadays, although there are fewer and fewer young islanders in Cheung Chau, casting for the parade is still fun. “A few years ago, we would have to wait in front of kindergartens and approach parents once we spotted suitable kids. Now it’s more convenient: we contact kindergartens on the island and set up official casting sessions. And we get the children to try sitting on the floats, to see if they are afraid.”

The design of the rod requires more thought and skill, and is often more complicated than the costumes and styling.

Every Float is a Work of Art

We naturally notice the cute characters portrayed by the children during the Floating Colours Parade, but the design and structure of the float itself is also often a focal point. A float is really just a means of transporting two children during the Parade: one child stands on foot supports mounted on a rod, above another child. The rod connects the two children, but it’s more than just a functional support apparatus:

“The design of the rod requires more thought and skill, and is often more complicated than the costumes and styling,” explains Yat Ming. During the parade, the rods are decorated with interesting and eye-catching ornamentation that explains the theme of that particular float. In the old building of the Cheung Chau Pak She Street Association, more than 40 different rods have been designed over the years.

In other words, if there isn’t an intricate rod it is not possible to illustrate the theme with fun designs. “Since forging is very complicated, we will first make a model out of thin wire, then we talk to the blacksmith about our ideas,” says Yat Ming, who was clearly proud of the work of the Association. “There was once a great blacksmith in our Association, and he lived just opposite our centre. No matter how tricky the theme was, he always found a way to illustrate it.”

Every association wanted their own designs to wow the spectators, so everyone kept their ideas secret until the night before the Parade.

From Traditional Stories to World Events

One year, the theme of the float was the Jin Yong novel Sword Stained with Royal Blood (which was adapted into a TV drama that became very popular in Hong Kong). The story features a twisted, snake-like “Golden Serpent Sword”; “So we asked our blacksmith to forge a snake-shaped rod,” continues Yat Ming. “We wanted to make it even more lively, so we invited someone who makes animal models to give us a snake skin to cover the rod.

“The main character of that year was of course the protagonist of the story ‘Jinshe Langjun’. The theme of that float was so vividly illustrated that people are still talking about it today! There was another year when the theme was the Cantonese film Third Master Sha and Lady Ngan .

We installed a small teapot and an artificial bird (note: drinking tea while bird watching is a traditional pastime of rich Chinese families), reflecting the spoiled personality of the protagonist Third Master Sha. The accessories were all very intricate. We had to be very careful when drilling holes in the small pot before it was fixed onto the rod. If it was not done carefully, the porcelain would be broken – and we would need to start all over again!”

Since the design of the floats reflect the creativity and dedication of its community, each group attaches great importance to it: “We used to be more nervous in the past,” adds Leung Yung Kan. “Every association wanted their own designs to wow the spectators, so everyone kept their ideas secret until the night before the Parade.

But now it is not so serious; it is an island-wide celebration so nobody minds letting others know what their designs are.” In fact, these days, everyone usually starts brainstorming themes for the upcoming parade as early as the Lunar New Year. There were no TV dramas and mass media decades ago, so themes were based on folklore. In later years, they have often found inspiration in popular TV dramas, and even current affairs and public figures from around the world.

Regardless of the style and subject matter, you can be sure that the characters portrayed by the children in the Floating Colours Parade will give tourists lots to look at and enjoy.

Blessings from Cheung Chau

Martin had a dream: to use his knowledge to promote the craftsmanship and tradition of Cheung Chau through the Kwok Kam Kee lucky bun store which his father had founded. So a few years ago he decided to quit his secure, well-paid job as general manager of a listed company. Now, as the second generation of his family to run the store, Martin tells us his own, unique story of lucky buns:

I’m a Cheung Chau Person, Not a Central Person

Martin, in his thirties, wears glasses and an open-necked shirt. Talking about his plans to expand Kwok Kam Kee, his business strategies, corporate responsibility, and last year’s partnership with a cartoon brand, he looks more like a big city businessman than a native of Cheung Chau. But, once he steps into the workshop, he is transformed into a proper pastry chef as he grabs the dough in one hand, while sprinkling yeast and adding in lotus fillings with the other.

There are not many places in Cheung Chau that make lucky buns, so we often have to produce more than 70,000 buns within the two weeks of the Jiao Festival.

Either way, Martin is a true native of Cheung Chau. After graduating from university, he joined the business world and worked in offices in Central, but he never moved out of Cheung Chau. “It only takes half an hour to get to Central by ferry. Cheung Chau is really not as remote as everyone thinks.” When Martin was young and had nothing to do after class, he would always go back to Kwok Kam Kee and watch how his Dad and other chefs made buns.

The “lucky buns” are always the main focus of every Cheung Chau Jiao Festival – highlights of which are the three giant bun towers and the exhilarating Bun Scrambling Competition. It is believed that the lucky buns bring good fortune and blessings, which is why people are always so enthusiastic about climbing the tall bun towers, in the hope of grabbing the highest “holy buns”. In addition, continues Martin, “there are 36 small bun towers which are used to treat the ‘spirits’. There are not many places in Cheung Chau that make lucky buns, so we often have to produce more than 70,000 buns within the two weeks of the Jiao Festival.” Even in the years when Martin was working in the city, he would always take two weeks off to help out at the store during the Festival.

In the past, there were no safety measures in the Bun Scrambling Competition and it could get very dangerous at times. Some enthusiastic participants would even climb from the inside of the tower in order to save time, then break out at a certain height. It was not until a serious accident happened in 1978 that the government decided to stop the activity. It was eventually resumed in 2005 when it became a properly-organised competitive event, with strict security measures and clear regulations. In that first year after the competition resumed, Martin was eager to compete:

“That year, I still took time off to help out at Kwok Kam Kee. I had been busy in the store until late in the evening, and then I rushed to the competition venue at eleven o’clock. I hadn’t even trained beforehand, but I was the seventh to finish the race nonetheless. I’ve enjoyed the Jiao Festival since I was young. I still like to watch the Parade. I was never a performer at the Parade when I was young, but all of my children have had the opportunity to participate as performers.”

I always feel that my work and business are only valuable when I can bring blessings to others.

Lucky Buns are Blessings

Martin has never forgotten the traditions of Cheung Chau and his fond memories of Kwok Kam Kee. After spending some years working in corporates, Martin started thinking about how to carry on his father’s bakery business. “I really wanted to promote my Dad’s store. I knew he would retire soon and I couldn’t bear to see that as the end of Kwok Kam Kee.” Soon after graduation, when Martin would come home to help during the busy period around the Jiao Festival, he already sensed the importance of his family’s store to people.“A lot of familiar customers deliberately come back every year from places such as Tuen Mun, Shatin, and order buns from us for their families and friends. For the non-islanders, lucky buns are not simply a holiday delicacy or a sacrifice: they are also blessings for family and friends.”

In fact, Martin has long been influenced by his mother and understood that he must help others as best he could. In addition to giving a hand at Kwok Kam Kee, Martin also helped at the resort house run by his mother when he was young. “One winter, I went downtown with my mother to buy a new quilt and bedding for the resort house. On our way to catch the ferry, she saw a rough sleeper. She immediately stopped and gave this new friend (that she had only just met) the newly-bought quilt; then she asked me to go to buy a lunch box immediately so he could also have a good meal.

“My mother could always put aside the most urgent of matters, in order to help others. Rushing to keep to a schedule, or to catch a ferry? These were of no importance to her.” Martin has partnered with charities this year to distribute nearly 10,000 lucky buns to the elderly in town. “I really hope to pass on these blessings to other people. Perhaps affected by my mother, I always feel that my work and business are only valuable when I can bring blessings to others.”

Tradition with a new twist

For many years, tourists have embraced the meaning behind the lucky buns. When they saw chefs putting red stamps on the buns at the store, they were curious to try that themselves. In response, Martin tried ordering a batch of mobile phone accessories with small “peace” logos to be sold in the store; surprisingly, they sold fast during the Jiao Festival. Over the years, Martin has become more confident about adding modern elements to the lucky buns. He hopes to promote the buns even further, based on his experience in business and his affection for Cheung Chau.

And that’s why Martin decided to resign from his full-time job and devote his full attention to the family business. “I didn’t even inform my Dad of my resignation; he always felt that I would have a brighter future outside and that it was a waste to come home and take care of the bakery. Dad was surprised to learn about my decision, but he still supported me.”

Yet, it was not easy to return to Cheung Chau from the commercial world. First of all, Martin needed to study the recipes of the lucky buns as well as other cakes and pastries sold in the store. “When I came back to help in the past, I didn’t have to think about the ingredients, the whole operation, and so on: you just do whatever you are told. However, everything was much more serious now that I was running my own business. I burnt so many cakes at the beginning, too!”

He found that mastering the techniques in pastry making is not the most difficult task. “My wish is not just to make good lucky buns: instead, I hope to explore more partnership opportunities to achieve more exposure for Kwok Kam Kee and our products. These negotiations are often more tiring, especially when they can only be done after opening hours.” Fortunately, Martin has been making headway: last year, Kwok Kam Kee successfully partnered with a cartoon brand to launch Hello Kitty and Gudetama lucky buns. Meanwhile, other side products have also been released, such as Hello Kitty lucky buns keychains, which have proved very popular. This year, Martin worked with another cartoon brand on producing different products of Spiderman and got very positive response as well.

“I have a dream that one day, Kwok Kam Kee will become the name for lucky buns that is recognised throughout Hong Kong and even abroad. So, when it comes to lucky buns and the Bun Scrambling Competition, people will also think of Kwok Kam Kee,” Martin concludes. We are also very much looking forward to that day!

Cheung Chau

Nicknamed “Dumbbell Island” due to its shape, Cheung Chau is one of Hong Kong’s best-known islands and a popular destination for local and overseas tourists alike. Historically a fishing village, the small island boasts sandy beaches, a rocky coastline, seafood restaurants, local shops and snack bars, temples and is rich in Chinese heritage and culture. In particular, the annual traditional Jiao Festival attracts hundreds of thousands of visitors to watch and enjoy its Piu Sik (Floating Colours) Parade and Bun Scrambling Competition. Cheung Chau is easily accessed by fast ferry from Central Pier.

Hong Kong is a vibrant city like no other, where the cultures and peoples of east and west meet, in a blend of tradition and ultra modernity. It’s host to an intensive calendar of unique events and festivals. And it’s Hactl’s home. We’re delighted to share aspects of this fascinating city state with you, through our “Flavours of Hong Kong” series.

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Tai O: Tales from an urban fishing village

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• Intangible Cultural Heritage Office
• Financial Figures- Year 2021/ 2022
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• 2024 Exhibition for Promotion of Culture and Tourism under the Series of Hong Kong-Guangxi Cultural Exchange Activities
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• 2024 Course on Hong Kong Traditional Paper Crafting Arts Series 2 - Exhibition on Fa Pau Crafting Technique
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• 2023 Exhibition on "Paper Crafting Technique in Hong Kong: History, Transmission and Innovation"
• 2023 Genesis and Spirit - Tea for Harmony．Yaji Cultural Salon : Exhibition of the Tea Culture of Zhejiang
• 2023 Delights of ICH - Hong Kong Intangible Cultural Heritage Video Show
• 2023 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Craftsmanship of Lantern Making
• 2022 Student Work of the 'Traditional Craftsmanship．Transmission of Paper Crafting Technique' Workshop
• 2021 'Intangible Cultural Heritage of Hong Kong' Exhibition
• 2021 Genesis and Spirit – Online Programmes on the Intangible Cultural Heritage of Ningxia Hui Autonomous Region
• 2021 'The Jiao Festival of the Hing Chun Yeuk, Sha Tau Kok' Exhibition
• 2020 'Folk Festival in These Days ...' Exhibition
• 2020 'The Oral Legacies Series II: The Representative List of the Intangible Cultural Heritage of Hong Kong' Exhibition
• 2019 'The Oral Legacies ─ Intangible Cultural Heritage of Hong Kong' Exhibition
• 2019 Inheritance – The Intangible Cultural Heritage of Japan Exhibition
• 2019 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Craftsmanship of Lantern Making
• 2019 Genesis and Spirit – Enchanting Shandong ‧ An Exhibition on the Intangible Cultural Heritage of Shandong
• 2019 Hong Kong Flower Show: Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Paper Crafting
• 2019 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Paper Crafting
• 2019 'The Oral Legacies: Intangible Cultural Heritage of the Hong Kong Special Administrative Region' Exhibition Month
• 2018 An Artist's Impression of HKICH
• 2018 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Paper Crafting
• 2017 The Oral Legacies: Intangible Cultural Heritage of Hong Kong Exhibition
• 2017 The Representative List of the Intangible Cultural Heritage of Hong Kong – Exhibition on Traditional Craftsmanship of Lantern Making
• 2017 Genesis and Spirit: Recalling Jiangnan – An Exhibition on the Intangible Cultural Heritage of Zhejiang
• 2017 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Craftsmanship of Lantern Making
• 2016 Hong Kong Intangible Cultural Heritage – Exhibition on Traditional Craftsmanship of Lantern Making
• 2016 300 Years of Hakka Kung Fu: Digital Vision of its Legacy and Future
• 2016 Hong Kong Intangible Cultural Heritage - Exhibition on 'Traditional Craftsmanship of Lantern Making'
• 2016 Hong Kong Intangible Cultural Heritage - 'Paper-crafting Technique on Southern Dragon' Exhibition
• 2015 Exhibition and Talks on Intangible Cultural Heritage of Gansu
• 2014 Indigenous Hong Kong - An Exhibition on our Intangible Cultural Traditions
• 2014 The Legend of Silk and Wood: A Hong Kong Qin Story
• 2013 Genesis and Spirit: Intangible Cultural Heritage of Guizhou Exhibition
• 2012 The Greatest Skills of Shu : Intangible Cultural Heritage of Sichuan Exhibition
• 2011 Genesis and Spirit: Intangible Cultural Heritage of China Exhibition
• 2011 Application for Inscription on the Third National List of Intangible Cultural Heritage: Hong Kong Items
• 2010 Golden Dragon of Ma Tin Tsuen, Yuen Long
• 2009 Exhibition of Intangible Cultural Heritage in China
• Past Events
• 2024 Hakka Dialect Beginner Course
• 2024 "Mobile ICH" School Programme
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• 2023 National Experience Exchange Activity on "Intangible Cultural Heritage in Communities"
• 2023 "ICH in Reach" Fun Days
• 2023 Guangdong Intangible Cultural Heritage Week and Foshan Qiuse Parade
• 2023 Guangdong-Hong Kong-Macao Greater Bay Area Intangible Cultural Heritage Exchange Conference
• 2023 Presentation Ceremony of Commemorative Plaques for Representative Items of National ICH
• 2023 Design District Hong Kong
• 2023 Wonder of Wonder: Jinan University Study Tour of Hong Kong and Macau
• 2023 Life Festival Dongguan
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• 2023 'Meet the Masters!' Series
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• 2022 Meet the Masters
• 2022 Muse Fest HK — 'Joy with ICH' Fun Days
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• 2021 Muse Fest HK — Making Joy: ICH Fun Day
• 2021 'Fun in ICH' Series
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• 2020 'Fun in ICH' Series
• 2020 ICH Talk Series: Migrants and Hong Kong Intangible Cultural Heritage
• 2019 'Fun in ICH' Series
• 2019 ICH Talk: The Aesthetics and Sewing Craft of Cheongsam for Men and Ladies
• 2019 "Tai O Dragon Boat Water Parade" Talk
• 2019 ICH Ambassadors Training Course – Young Eyes on ICH
• 2018 'Fun in ICH' Series
• 2018 ICH Ambassadors Training Course – Young Eyes on ICH
• 2018 "Fun in ICH" Fun Day
• 2018 "Tai O Dragon Boat Water Parade" Field Trip
• 2018 The 2nd 'ICH Day @ Hang Hau' 
• 2018 Hong Kong Flower Show: Appreciating Intangible Cultural Heritage in the World of Flowers
• 2018 'The Oral Legacies Series II: The Representative List of the Intangible Cultural Heritage of Hong Kong' Exhibition Fringe Activities  
• 2018 ICH Fun Day   
• 2017 Narrative Singing．New Interpretation of Nanyin   
• 2017 'Take a Closer Look at ICH' Fun Day cum Launching of 'ICH Legacy: Passing on with Passions' Video   
• 2017 ICH Mission – Lectures on Craftsmanship of Tai Hang Fire Dragon 
• 2017 The Secret Tea Recipe of 'Kamcha King' – Demonstration x Tasting x Hands-on learning   
• 2017 "Tai O Dragon Boat Water Parade" Field Trip
• 2017 ICH Day @ Hang Hau  
• 2017 'ICH Mission – I wanna be an ICH Bearer' Series – Mastering the ABCs of the Ten Local ICHs
• 2017 Talk on 'Cheung Chau Jiao Festival' and Behind-the-Scene Look of the Piu Sik Floats   
• 2017 ICH @ New Year   
• 2016 'ICH Mission – I wanna be an ICH Bearer' Series
• 2016 Intangible Cultural Heritage (ICH) Mart
• 2016 ICH Mission – Lectures on Craftsmanship of Tai Hang Fire Dragon   
• 2016 Yu Lan @ Every District – Talks on the Yu Lan Festival Tradition   
• 2016 CH Fun @ Summer Time
• 2016 ICH Fun @ Sam Tung Uk   
• 2016 "Tai O Dragon Boat Water Parade" Talk
• 2016 Talk on 'Chenug Chau Jiao Festival' and Behind-the-Scene Look of the Piu Sik Floats 
• 2015 Talk and Demonstration on the Craftmanship of the Tai Hang Fire Dragon  
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Cheung Chau Jiao Festival

The activity has been practised for more than 100 years. Legends say that Cheung Chau was devastated by a plague in the late Qing dynasty. To dispel the disaster, Huizhou and Chiu Chow natives invited Taoist priests and set up a sacrificial altar near the Pak Tai Temple to pray to deities, repent and to comfort departed souls from the land and the sea. The residents also paraded deity statues along village lanes. The plague did cease after the ritual. Since then, residents on Cheung Chau have been organising the annual Jiao Festival to express gratitude to Pak Tai for blessing the area with peace. For more than a century, Cheung Chau residents never stopped organising the annual Jiao Festival to dispel disaster and pray for blessings for peace and safety. With residents' participation every year, the ritual has been passed down through the generations. Cheung Chau Jiao Festival was inscribed onto the third national list of ICH in 2011.

History Trip Go Easy 4+

Cheung chau jiao festival, hong kong education city limited, screenshots, description.

Adopting e-learning in humanities subjects, which is one of the key focuses in the revised Personal, Social and Humanities Education (PSHE) Key Learning Area Curriculum Guide (Primary 1 – Secondary 6) (CDC, 2017), can enhance the effectiveness of learning and teaching. More specifically, the use of electronic technologies not only provides easy access to information which enables learning to take place beyond the classroom and school hours, but also enhances engagement in learning through sharing and collaboration and thereby facilitating the development of higher order thinking skills (e.g. problem solving and creativity). At the same time, it can support the construction and application of knowledge and allow students to be more autonomous in their learning process. The mobile app provides e-learning resources on Cheung Chau Jiao Festival and other field trips, including parts for preparation before field trip, routes for field trip, and extended learning. In addition, the field trip activities in the mobile app adopt augmented reality (AR) and virtual reality (VR), creatively incorporates e-learning into field trips and enhances students’ motivation to learn, and enables History learning to take place beyond the classroom and school hours. For example, students and teachers can experience the Jiao Festival anytime (including non-festival days) by using AR in this app to view the composite-scene parade in Cheung Chau or the arrangement of the festival area as if they were being there. Teachers can flexibly use this mobile app in the learning and teaching of History, thereby facilitating students’ self-directed learning and developing historical literacy, and cultivating the positive values and attitudes of taking up the responsibility of preserving antiquities and monuments, conserving cultural heritage and respecting for others. No part of this mobile app may be reproduced in any form for commercial purposes. We are grateful to publishers/organisations for permission to include materials in this app. We would also like to express our special thanks to the Intangible Cultural Heritage Office (ICHO) of Leisure and Cultural Services Department (LCSD), Dr TING Joseph Sun-pao, Dr KWONG Chi-man for their support (such as generously agreeing with the use of relevant video clip, sharing achievements of academic researches, etc.). Every effort has been made to trace copyright but in the event of any accidental infringement, copyright owners are invited to contact us so that an appropriate arrangement can be made.

Version 3.0.1

- Update e-learning resources on Cheung Chau Jiao Festival - Bug Fix

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The developer, Hong Kong Education City Limited , indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy .

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History Trip Go Easy

Initially, the mobile app was based on the resource pack published by the Education Bureau in 2014: A Case Study of Local Heritage Research – Cheung Chau Cults , which contained an e-book containing guidelines and examples for learning and teaching. But now, we have added another two routes, including Hong Kong Cemetery and Wong Nai Chung Gap Trail.

Synchronous discussion on using educational apps that can make history learning fun and interactive . These apps use gamification techniques to engage and motivate students to learn more.

Sole UX/UI Designer, Illustrator

Illustration, Adobe XD

Watch a demo of the final product

Frontend interface

Design Process

After conducting usability testing, it's essential to make a solution and identify any pain points that users may be experiencing.

Understand my user's needs and goals.

This involves developing a clear structure for three routes, including content organization, page hierarchy, information architecture, and user journey map.

High-fidelity front-end and back-end interfaces are included.

This involves user testing and feedback to ensure the site is intuitive and user-friendly.

Inspiration

Conceptualization

Pain Point on UX

After observing the original app and conducting usability testing , I have concluded that there are several areas where improvements can be made. Firstly, the app's layout and design could be more user-friendly . The current interface could be more explicit and transparent , making navigating easier for users. Secondly, the app's functionality needs to be improved. Some features must be fixed as they should, which can frustrate users.

This involves developing a clear structure for the site, including site map and user journey map.

01 Site Map

02 user journey map, 03 wireframe, 04 style guide, color palette.

Pain Point on UI

The learning app aims to help students achieve their academic goals by providing innovation and technology . The app's user-friendly interface and engaging content make learning more enjoyable and effective.

Task1. Cheung Chau Jiao Festival

My student's needs, my student's goals, task2. hong kong cemetery, task3. wong nai chung gap trail, coming soon.

Students and teachers can experience the Jiao Festival anytime (including non-festival days) by using AR in this app to view the composite-scene parade in Cheung Chau or the arrangement of the festival area as if they were being there . Besides for students and teachers who are unable to visit Cheung Chau due to different considerations, they could make use of the virtual reality (VR) activities in this app to experience and understand the Jiao Festival.

To truly preserve and honor the legacy of a festival, it is important to understand its history and culture . By learning about the traditions, customs, and significance of the festival, we can ensure that its intangible cultural heritage is passed down to future generations . It is through this knowledge and appreciation that we can keep the spirit of the festival alive and thriving.

Task 02 Hong Kong Cemetery

Task 1- cheung chau jiao festival, task 2- hong kong cemetery.

Task 1 Cheung Chau Jiao Festival

At the same time that the above problems need to be improved, Hong Kong Cemetery a nd Wong Nai Chung Gap Trail routes must be added. Making changes to the interface design and incorporating more illustrations would be a great idea to pique students' interest in history learning . Keeping things visually engaging and interactive is essential to make the subject matter more accessible and enjoyable .

Students and teachers can experience the visiting there anytime (including non-office hour) and understand life story of notable burials of Hong Kong Cemetery by using virtual trip in this app. In addition, providing some teaching resource for students and teachers in field trip.

Learn about the famous burials at the Hong Kong Cemetery and their contributions to Hong Kong during their lifetime.

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History Trip Go Easy

Cheung chau jiao festival.

Descripción de History Trip Go Easy: Cheung Chau Jiao Festival

Adopting e-learning in humanities subjects, which is one of the key focuses in the revised Personal, Social and Humanities Education (PSHE) Key Learning Area Curriculum Guide (Primary 1 – Secondary 6) (CDC, 2017), can enhance the effectiveness of learning and teaching. More specifically, the use of electronic technologies not only provides easy access to information which enables learning to take place beyond the classroom and school hours, but also enhances engagement in learning through sharing and collaboration and thereby facilitating the development of higher order thinking skills (e.g. problem solving and creativity). At the same time, It can support the construction and application of knowledge and allow students to be more autonomous in their learning process.

This mobile app is developed from the resource pack: Case Study of Local Heritage Studies – Cheung Chau Jiao Festival published by the Education Bureau (EDB) in 2014. In addition to the guideline on field trips designed by Dr. MA Muk-chi of the Department of History, CUHK, as well as exemplars of learning and teaching strategies designed by experienced teachers, this app also adopts augmented reality (AR) which creatively incorporates field trips into the learning and teaching of intangible cultural heritage (ICH) and enhances students’ motivation to learn. For example, students and teachers can experience the Jiao Festival anytime (including non-festival days) by using AR in this app to view the composite-scene parade in Cheung Chau or the arrangement of the festival area as if they were being there. Besides, for students and teachers who are not able to visit Cheung Chau due to different considerations, they could make use of the virtual reality (VR) activities in this app to understand and experience the Jiao Festival.

No part of this app may be reproduced in any form for commercial purposes. We are grateful to publishers/organizations for permission to include materials and video clips from their publications in this app and would like to express our special thanks to the Intangible Cultural Heritage Office (ICHO) of Leisure and Cultural Services Department (LCSD) for using the video clip on Cheung Chau Jiao Festival. Every effort has been made to trace copyright but in the event of any accidental infringement, copyright owners are invited to contact us so that we can come to a suitable arrangement.

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