Sidney Cheung
I received all my higher education in Japan, and my PhD dissertation is about cultural relations between Ainu people and Japanese, submitted to Osaka University in 1994. Currently Professor and Chairperson of the Department of Anthropology, Associate Director of the Centre for Cultural Heritage Studies, The Chinese University of Hong Kong. I have carried out field research in Japan, Hong Kong, mainland China, Southeast Asia and Louisiana, and published my research findings in academic journals such as: Visual Anthropology, International Journal of Heritage Studies, Annals of Tourism Research, Traditional Dwellings and Settlements Review, MUSEUM International, Asian Studies Review, Futures: The Journal of Policy, Planning and Futures Studies, Japanese Society, Journal of The Hong Kong Branch of the Royal Asiatic Society, and is the editor of On the South China Track: Perspectives on Anthropological Research and Teaching, Hong Kong: HKIAPS, The Chinese University of Hong Kong (1998); co-editor of Tourism, Anthropology and China, Bangkok: White Lotus (2001), The Globalization of Chinese Food, Surrey: RoutledgeCurzon, and Honolulu: University of Hawaii Press (2002) and Food and Foodways in Asia: Resource, Tradition and Cooking, London and New York: Routledge (2007). Besides academic publications, he also wrote two Chinese popular books--《漁翁移山:香港本土漁業民俗誌 (Ethnography of Local Hong Kong Freshwater Fish Farmers)》and《公路上的廚師 (Chefs on the Road)》which are expected to bring anthropological perspectives to the general public. I am a partner of the UNESCO Chair project of Tours University, France on “Safeguarding and Promoting Cultural Food Heritage” (more details can be found at: http://www.alimentation.univ-tours.fr), and some of my research findings were chosen for some Radio Television Hong Kong (RTHK) documentary series of 香港故事--第六輯 (Hong Kong Stories—the sixth series) such as [年年有魚] and [東江逆流] in 2008; as for the community services, I am a Scientific Committee member of the Heritage conference series in Portugal since 2008. I hosted three RTHK 香港電台radio programme series in the past decade,《港飲食、講文化》 in 2004, 《文化非主流》in 2005, and《世界長河》in 2011.
Address: Department of Anthropology, The Chinese University of Hong Kong, Shatin, New Territories, Hong Kong SAR
Address: Department of Anthropology, The Chinese University of Hong Kong, Shatin, New Territories, Hong Kong SAR
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Books by Sidney Cheung
1. Sceneries and landscape - mangroves in Autumn, flowers and plants in different seasons, reeds, migratory birds in Winter, water birds, buffalo, landscape, etc.
2. Foodways and nutrition – fish (grey mullet, eel, carp, etc.), oyster, shrimp, crab, wild boar; fruits such as lychee, banana, jack fruits, papaya, star fruits, dragon eyes; seasonal vegetables; festival cuisine such as pun choi in Spring and Autumn, traditional cakes and dishes, seasonal delicacies, etc.
3. Rural community lifestyles - catching mullet fish fry in Winter, fishpond drying in Winter, gei wai harvesting in Summer, Tin Hau Festival in Spring, Lunar New Year, ancestral worshipping, fish market operation in midnight, etc.
"
The story is about a discovery voyage from South Korea to Japan, of a Korean man who is looking for his missing younger brother. He came all the way from Seoul to Osaka in order to find out where his younger brother was, and he toured around the faculty building meeting some professors who might know his brother. He played the role of someone who doesn't speak Japanese but needs to find what his brother was doing in the foreign land. He came with an objective, but at the same time, he was guided by uncertainties. During the search, different research interests were shown and explained; thus, it is considered a journey of the ivory tower with ambitious scholars looking at the society with different kinds of meanings.
I would like to say something about what was behind the scenes here. The background music is original and was from Mr. Aoyama, who used to be my senior. He chose to drop off from the postgraduate programme to become a professional jazz pianist. As I remembered, he was a big fan of Thelonius Monk. The music carried the image of walking in an aquarium, with the senses of surprise and excitement.
The producer was Prof Sato, who provided excellent financial control but at the same time unlimited flexibilities for such an ad film. Another very helpful person was Mr. Takahashi, who gave critical but positive support in various aspects, even though most of us don't know where he is nowadays.
Time flies, and I might have forgotten something important, or people who played substantial roles in this ad film.
I will post it on youtube.com as soon as it is ready, and hope someone will find it interesting.
有別於作者其它的發表形式,本書採取了一種非學術論文的寫作方法,希望通過訪問突出漁民的生活文化,和在面對社會變遷時的「移山」意志,給香港大部份的都市人一個深思和反省的空間。本書以《漁翁移山》為題,是希望讀者在了解養魚業的歷史發展之餘,還可感受漁民對生活的堅守不移和目下魚塘光景的歷史凝聚;雖然當我們眼看到今日站立在塘邊的魚屋心底裏不期然流露一點唏噓,但當我們試圖想像他們那一股無比的移山意志之際,又給予我們無比的興奮。本書找來十位受訪者,他們都能代表他們的工作地區,對自身的行業有豐富的工作經驗,並在行業中擔當獨特的身份,其中有村長、批發商、養魚協進會理事長等等。作者試圖放下學術文章的協作方式,用比較感性的文字給不同的讀者引領到筆者的田野國度裏。
《公路上的廚師》也就如人生飛奔在公路上,一切仿如擦身而過,有緣的開始和無緣的終結,一張一張陌生但似曾相識的面孔,一幕一幕平凡而新鮮的情節,仿似仍然活在今天香港的街角裏。再者,公路也是平民百姓的生活的寫照,作者藉此展示香港社會文化中平凡裏的不平庸,雖然他們不一定是大多香港人認識的明星大廚,但他們的生活經驗卻來得真實得多。《公路上的廚師》是一本以廚師的生活經驗為中軸,反映香港戰後社會的飲食文化的文字記錄。透過一連串對資深廚師的訪問,本書希望把讀者引領到廚師的生活舞台裏,讓我們對每個身處於不同餐食範疇的廚師的台前幕後,經歷了一個為地方歷史和文化遺產作出探索和保存的心路旅程。希望大家就愛上了它的真實,戀上了它的灑脫,和迷上了它的堅持。這一點一滴的斷章,希望讀者將它們化零為整,分享一幅反映本地戰後生活文化的美食萬花筒。借「東京畫/尋找小津(Tokyo-ga)」内德國新浪潮電影大師溫德斯 (Wim Wenders) 在東京尋找小津安二郎的起動下,繼而把八十年代日本社會文化呈現鏡頭前的做法,我在此希望本書在走訪廚師的歷程中,為讀者導賞現代香港社會的文化足跡。
作者訪問了十多位在香港不同菜系、不同飲食行業從事超過數十年的資深廚師,他們都能代表他們的工作地區,對自身的行業有豐富的工作經驗。作者通過和他們的接觸、觀察行業本身的運作和通過深入訪問了解他們的學師過程和創作的心路歷程,以全觀角度探討不同飲食行業在香港的發展過程。作者的著眼點不單是食物烹調的變化,而且是行業的多重社會意義,特別在社會變遷和消費文化衍生出來的個人和行業之間的關係。有別於作者其它的發表形式,《公路上的廚師》採取了一種非學術論文的寫作方法,希望透過一連串的訪問突出廚師的生活經驗,使讀者不單對每個身處於不同餐食範疇的師傅的心路歷程有所理解,而且更可以把他們各自對戰後香港飲食文化的貢獻化零為整,分享一幅反映本地生活文化的美食萬花筒。論《公路上的廚師》的寫作風格,作者希望在飲食文化上,提出一個可供得選擇。
本書一共分成十三章,除了本章為讀者介紹了文化人類學在飲食研究發展的經緯之外,其它的十二個章節,分別以東江菜、山東京菜、粵菜、港式西餐、點心、茶餐廳、大型到會(到會是廣東話,意指外燴)、私房菜、盆菜、廣東粥等分述不同香港飲食發展中、在不同地方工作的廚師的經歷。正如東江菜和北京菜的廚師,他們和大部份的香港人一樣都是在一九四九年國內解放之後,來到香港這塊彈丸之地找工作尋生計,而通過同鄉的介紹把家鄉的飲食變成謀生的工具,可算是動蕩社會下的一種產物。在他們的口中,我們聽到他們往住為了較好的收入和較高層次的技術追來,不斷轉換工作地點和工種。而他們的選擇正正反映了飲食行內分工的傳統和個人要求突破而採取的相應對策。此外,港式豉油西餐和茶餐廳的發展,反映了「努力求變,無師自通」的香港精神,而他們的故事更是活生生的例子。最後,我以兩位從事蛇和野味供應方面的師傅的訪問,使讀者可以從另一角度思考香港飲食事的將來,究竟是一片光明前路,還是像在公路上奔馳的車手一樣,希望在汽油還沒有用盡之前無奈地完成自己的旅程。
Papers by Sidney Cheung
1. Sceneries and landscape - mangroves in Autumn, flowers and plants in different seasons, reeds, migratory birds in Winter, water birds, buffalo, landscape, etc.
2. Foodways and nutrition – fish (grey mullet, eel, carp, etc.), oyster, shrimp, crab, wild boar; fruits such as lychee, banana, jack fruits, papaya, star fruits, dragon eyes; seasonal vegetables; festival cuisine such as pun choi in Spring and Autumn, traditional cakes and dishes, seasonal delicacies, etc.
3. Rural community lifestyles - catching mullet fish fry in Winter, fishpond drying in Winter, gei wai harvesting in Summer, Tin Hau Festival in Spring, Lunar New Year, ancestral worshipping, fish market operation in midnight, etc.
"
The story is about a discovery voyage from South Korea to Japan, of a Korean man who is looking for his missing younger brother. He came all the way from Seoul to Osaka in order to find out where his younger brother was, and he toured around the faculty building meeting some professors who might know his brother. He played the role of someone who doesn't speak Japanese but needs to find what his brother was doing in the foreign land. He came with an objective, but at the same time, he was guided by uncertainties. During the search, different research interests were shown and explained; thus, it is considered a journey of the ivory tower with ambitious scholars looking at the society with different kinds of meanings.
I would like to say something about what was behind the scenes here. The background music is original and was from Mr. Aoyama, who used to be my senior. He chose to drop off from the postgraduate programme to become a professional jazz pianist. As I remembered, he was a big fan of Thelonius Monk. The music carried the image of walking in an aquarium, with the senses of surprise and excitement.
The producer was Prof Sato, who provided excellent financial control but at the same time unlimited flexibilities for such an ad film. Another very helpful person was Mr. Takahashi, who gave critical but positive support in various aspects, even though most of us don't know where he is nowadays.
Time flies, and I might have forgotten something important, or people who played substantial roles in this ad film.
I will post it on youtube.com as soon as it is ready, and hope someone will find it interesting.
有別於作者其它的發表形式,本書採取了一種非學術論文的寫作方法,希望通過訪問突出漁民的生活文化,和在面對社會變遷時的「移山」意志,給香港大部份的都市人一個深思和反省的空間。本書以《漁翁移山》為題,是希望讀者在了解養魚業的歷史發展之餘,還可感受漁民對生活的堅守不移和目下魚塘光景的歷史凝聚;雖然當我們眼看到今日站立在塘邊的魚屋心底裏不期然流露一點唏噓,但當我們試圖想像他們那一股無比的移山意志之際,又給予我們無比的興奮。本書找來十位受訪者,他們都能代表他們的工作地區,對自身的行業有豐富的工作經驗,並在行業中擔當獨特的身份,其中有村長、批發商、養魚協進會理事長等等。作者試圖放下學術文章的協作方式,用比較感性的文字給不同的讀者引領到筆者的田野國度裏。
《公路上的廚師》也就如人生飛奔在公路上,一切仿如擦身而過,有緣的開始和無緣的終結,一張一張陌生但似曾相識的面孔,一幕一幕平凡而新鮮的情節,仿似仍然活在今天香港的街角裏。再者,公路也是平民百姓的生活的寫照,作者藉此展示香港社會文化中平凡裏的不平庸,雖然他們不一定是大多香港人認識的明星大廚,但他們的生活經驗卻來得真實得多。《公路上的廚師》是一本以廚師的生活經驗為中軸,反映香港戰後社會的飲食文化的文字記錄。透過一連串對資深廚師的訪問,本書希望把讀者引領到廚師的生活舞台裏,讓我們對每個身處於不同餐食範疇的廚師的台前幕後,經歷了一個為地方歷史和文化遺產作出探索和保存的心路旅程。希望大家就愛上了它的真實,戀上了它的灑脫,和迷上了它的堅持。這一點一滴的斷章,希望讀者將它們化零為整,分享一幅反映本地戰後生活文化的美食萬花筒。借「東京畫/尋找小津(Tokyo-ga)」内德國新浪潮電影大師溫德斯 (Wim Wenders) 在東京尋找小津安二郎的起動下,繼而把八十年代日本社會文化呈現鏡頭前的做法,我在此希望本書在走訪廚師的歷程中,為讀者導賞現代香港社會的文化足跡。
作者訪問了十多位在香港不同菜系、不同飲食行業從事超過數十年的資深廚師,他們都能代表他們的工作地區,對自身的行業有豐富的工作經驗。作者通過和他們的接觸、觀察行業本身的運作和通過深入訪問了解他們的學師過程和創作的心路歷程,以全觀角度探討不同飲食行業在香港的發展過程。作者的著眼點不單是食物烹調的變化,而且是行業的多重社會意義,特別在社會變遷和消費文化衍生出來的個人和行業之間的關係。有別於作者其它的發表形式,《公路上的廚師》採取了一種非學術論文的寫作方法,希望透過一連串的訪問突出廚師的生活經驗,使讀者不單對每個身處於不同餐食範疇的師傅的心路歷程有所理解,而且更可以把他們各自對戰後香港飲食文化的貢獻化零為整,分享一幅反映本地生活文化的美食萬花筒。論《公路上的廚師》的寫作風格,作者希望在飲食文化上,提出一個可供得選擇。
本書一共分成十三章,除了本章為讀者介紹了文化人類學在飲食研究發展的經緯之外,其它的十二個章節,分別以東江菜、山東京菜、粵菜、港式西餐、點心、茶餐廳、大型到會(到會是廣東話,意指外燴)、私房菜、盆菜、廣東粥等分述不同香港飲食發展中、在不同地方工作的廚師的經歷。正如東江菜和北京菜的廚師,他們和大部份的香港人一樣都是在一九四九年國內解放之後,來到香港這塊彈丸之地找工作尋生計,而通過同鄉的介紹把家鄉的飲食變成謀生的工具,可算是動蕩社會下的一種產物。在他們的口中,我們聽到他們往住為了較好的收入和較高層次的技術追來,不斷轉換工作地點和工種。而他們的選擇正正反映了飲食行內分工的傳統和個人要求突破而採取的相應對策。此外,港式豉油西餐和茶餐廳的發展,反映了「努力求變,無師自通」的香港精神,而他們的故事更是活生生的例子。最後,我以兩位從事蛇和野味供應方面的師傅的訪問,使讀者可以從另一角度思考香港飲食事的將來,究竟是一片光明前路,還是像在公路上奔馳的車手一樣,希望在汽油還沒有用盡之前無奈地完成自己的旅程。