Missing puzzle in cultural melting pot

Quest for identity

Cheng still remembers being shocked by the findings of a survey on students' cultural identity and belonging at that time. "We found some 12 percent of the surveyed students firmly believed they had no connection to Chinese culture, and another 12 percent considered themselves unequivocally British. With limited English proficiency and poor knowledge of British history and literature, how come these students identified themselves as British?"

Such a mindset, however, found its roots in a belief of the times when young people were brought up thinking that Anglo-American culture was a world beater.

This underscores the good efforts Cheng has made in helping young generations to understand that Chinese culture, cherished and practiced by Hong Kong people in bits and pieces of daily life, and age-old traditions and customs, has its ups and downs, ebb and flow, peaks and valleys.

"The vastness and complexity of history makes it an ongoing journey of discovery and calls for lifelong commitment to exploring and appreciating the rich tapestry of our past," he says.

What has been put on top of his teaching agenda was "the most serious problem" that the youth hadn't the slightest idea about the indigenous cultural elements they were carrying and embodied. He adopted a "spontaneous approach" that encouraged students to build a deeper connection to the richness of Chinese culture from everyday experiences, encompassing everything from Buddhist and Taoist temples, myriad festivals and celebrations to household tales, and collections of xiqu, or Chinese opera, performances.

A couple of years later, Cheng was gratified to see a good many students had opened their arms wider for meaningful engagement with Chinese culture in their quest to better understand what the future holds for themselves and the culture.

Such quest of self seems not in line with a social climate in those days that prioritized quick wins and instant benefits above all else. Cheng deems it "the most severe damage inflicted on Hong Kong by the colonial government", where locals were discouraged from thinking about the road ahead for themselves and Chinese culture, or even reflecting on their identity as Chinese. Instead, financial gains and material success made the one and only overarching theme.

What adds an arguably fitting footnote to the materialistic values is a demeaning reputation Hong Kong has been struggling to ditch as a cultural desert populated by philistines who are only interested in making money.

Cheng believes the cultural desert stigma holds some truth as well as bias. Hong Kong, known for its powerful pull on global cultural exhibitions and shows, has seen no shortage of a feast of events. Yet, a lack of public engagement is where the problem lies — a frustrating phenomenon particularly evident more than 20 years ago.

"Unlike other cosmopolitan cities where the educated, white-collar upper middle-class usually developed hobbies like reading, music and arts, Hong Kong saw a tiny number of enthusiasts truly involved in cultural activities two decades ago," he notes. "The city's cultural scene harbors a wealth of hidden talents almost invisible to the general public, with local cultural activities limited to the realm of entertainment without much depth."

He casts aside the long-held stereotype and calls for "greater self-awareness" to guard against the citywide upsurge in money worship, and prevent "the voice of culture from being entirely drowned out by the noise of making money".