ADRIATIC NOSTALGIA ~ Tomislav Marcijuš

 
Tomislav Marcijuš, “Adriatic Nostalgia,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 23,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 23,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 05,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 05,” Croatia, 2020

In just a few months, the whole world has changed, and the people too. Coronavirus deleted almost all plans that affected various business sectors, including Croatian tourism. The closed borders were the beginning of worries that called into question the tourist season in Croatia. No one was ready for this scenario. Our people make up only 12% of total tourism. The drop in traffic is up to 70%. Various topics in the healthcare system and politics are touched and they are trying to find solutions to the coming crisis. My photography profession is under attack along with many other activities. We have the opportunity to show a new world, it cannot be taken away from us. The camera is always with us. We are always ready to go very far for the quality cadre.

"The world will no longer be the same place!" - a sentence with which this year started. With a series of photographs, I show the feeling of empty space and examine the feelings of the past and the present in almost the same places on the Adriatic coast. I imagine a sense of carefree-ness and joy in 1998 as I sit on the pier, completely alienated. 22 years later.

Tomislav Marcijuš, “Adriatic Nostalgia 42,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 42,” Croatia, 2020

 
Tomislav Marcijuš, “Adriatic Nostalgia 02,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 02,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 03,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 03,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 46,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 46,” Croatia, 2020

 
 
 
Tomislav Marcijuš, “Adriatic Nostalgia 35,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 35,” Croatia, 2020

 
Tomislav Marcijuš, “Adriatic Nostalgia 38,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 38,” Croatia, 2020

 
Tomislav Marcijuš, “Adriatic Nostalgia 39,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 39,” Croatia, 2020

 
Tomislav Marcijuš, “Adriatic Nostalgia 10,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 10,” Croatia, 2020

“在短短幾個月內，整個世界發生了變化，人民也發生了變化。冠狀病毒刪除了幾乎所有影響包括克羅地亞旅遊業在內的各個商業領域的計劃。封閉的邊界是人們開始擔憂的開始，這使克羅地亞的旅遊旺季受到質疑 。沒有人願意為這種情況做準備，我們的人僅佔旅遊總數的12％，交通量下降了70％，醫療保健系統和政治領域的各個主題都受到影響，他們正在努力尋找解決方案 危機，我的攝影專業受到許多其他活動的襲擊，我們有機會向人們展示一個新世界，不能把它帶離我們。相機永遠伴隨著我們。我們始終準備為追求更高的質量而努力 幹部：““世界將不再是同一個地方！””-今年開始的句子。用一系列照片，我表現出空虛的感覺，幾乎回顧了過去和現在的感覺。 相同的地方 在亞得里亞海海岸。 當我坐在碼頭上時，我想像著1998年的無憂無慮和快樂的感覺，完全疏遠了。 22年後。”

Tomislav Marcijuš, “Adriatic Nostalgia 01,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 01,” Croatia, 2020

 
Tomislav Marcijuš, “Adriatic Nostalgia 26,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 26,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 13,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 13,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 43,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 43,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 21,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 21,” Croatia, 2020

 
 
Tomislav Marcijuš, “Adriatic Nostalgia 44,” Croatia, 2020

Tomislav Marcijuš, “Adriatic Nostalgia 44,” Croatia, 2020

 
 
marcijus_tomislav_profile_photo.jpg

International awarded contemporary photographer based in Croatia. After graduation from the Architectural-Geodetic School, he began to experiment with film and analog cameras. He found himself in visual arts and turned his hobby into a business. After that, he launched his studio called Marcijuš Studio. Analog photography made it possible to discover his own style and apply it to various types of photography. Documentary and artistic approach is the way it photographs destination weddings, portraits, editorials, travels, personal and various commercial projects.

國際獎項和當代攝影師，駐克羅地亞。 在建築大地學校畢業後，他開始嘗試膠片和模擬相機。 他發現自己從事視覺藝術，並將業餘愛好變成了生意。 之後，他成立了自己的工作室MarcijušStudio。 模擬攝影可以發現自己的風格並將其應用於各種類型的攝影。 紀錄片和藝術方法是它拍攝目的地婚禮，肖像畫，社論，旅行，個人和各種商業項目的方式。

https://www.marcijustomislav.com/

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Cheung Chau Transportation 長洲交通運輸 ~ Basil Hui

街渡海運 Kaito Shipping

長洲為香港南端小島，明代時期已是繁盛的漁村。乾隆末年間，長洲已是中國華南地區的「銷鹽子埠」，即一個海鹽的集散地；附近島嶼的漁鹽皆運到長洲出售，海上貨運繁盛。嘉慶二十四年 (公曆1819年) ，長洲正式成為墟市被編入史册；與元朗墟、石湖墟、大埔墟等，同是香港開埠前 (公曆1842年) 的重要墟市。

Cheung Chau is a small island at the southern end of Hong Kong, and it was already a prosperous fishing village since Ming Dynasty. In the late Qianlong period, Cheung Chau was a "sales salt port" in southern China, that is, a distribution center for sea salt. Fishing salt from nearby islands was transported to Cheung Chau for sale, and sea freight business was prosperous. In the twenty-fourth year of Jiaqing Emperor (1819), Cheung Chau officially became a market and was included in the annals of history, together with Yuen Long Market, Shek Wu Market, and Tai Po Market, it was also an important market before the opening of Hong Kong (in 1842). 

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由於漁鹽一直是長洲的重要經濟支柱，故當時長洲灣内舟楫雲集，長洲有多艘街渡行駛華南沿海各地；如義泰安渡、公昌渡、人和泰渡等，主要運輸糧油鹽務。

Since fishing salt has always been an important economic pillar of Cheung Chau, there were many boats in Cheung Chau Bay at that time. There were many kaitos traveling along the coast of South China; such as Yitai Andu, Gongchangdu, Renhe Taidu, etc., which mainly transported grain, oil and salt. Service.


同治初年，清廷曾在島上設立關稅站，除肩負緝私課餉之責，亦監視被英人佔領的香港九龍的船艦進出。當時官府除運兵船外，還有海關船、抽厘船 (收税船)、緝私船、銅底船等進出巡視長洲。

In the early years of Tongzhi, the Qing government set up a customs station on the island. Apart from anti-smuggling class, it also monitor the entry and exit of ships in Kowloon, Hong Kong, occupied by the British. At that time, in addition to the troop transport ships, the government also had customs ships, tax-collecting ships, anti-smuggling ships, and copper-bottom ships patrol to Cheung Chau.


至十九世紀末，長洲已有同安、安順、公益、義泰四艘街渡，行走香港、澳門、廣州以及廣東沿海各地。其中有兩艘街渡，每日有兩班定時來往長洲至港島西營盤，行程約三小時。

By the end of the 19th century, Cheung Chau had four kaitos, namely Tongan, Anshun, Charity, and Yitai, traveling Hong Kong, Macau, Guangzhou and the coastal areas of Guangdong. Among them, there are two Kaito boats with two regular sailing daily between Cheung Chau and Sai Ying Pun on Hong Kong Island. The journey takes about three hours.


自1898年6月9日清廷與英國簽定《展拓香港界址專條》後，長洲歸英人管理。由於長洲位於澳門與香港水上之間，距離廣州、虎門等邑市亦不遠，故長洲灣內泊滿大小船艇。

On June 9, 1898, Qing Dynasty and the United Kingdom signed the "Exhibition and Extension of the Hong Kong Boundary Site", Cheung Chau was managed by the British. Since Cheung Chau is located in important spot between Macau and Hong Kong, and not far from Guangzhou, Humen and other cities, Cheung Chau Bay is full of boats.

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據當時一位英國特委專員Stewart Lockhart於1898年10月撰寫的報告描述：「長洲是一個繁忙的地方，很多來往香港和澳門之間的蒸汽船，艇和帆船也會在長洲停留。」二十世紀初，已有蒸汽船來往港澳兩地，中途停在長洲上落客貨後，才繼續航程。而當時停泊的碼頭，就在現時北角咀附近。

According to a report written by the British Special Commissioner Stewart Lockhart in October 1898, “Cheung Chau is a busy port. Many boats travel among Macau and Hong Kong will also stop at Cheung Chau, includes steam ships, boats and sailing boats”. At the beginning of the twentieth century, there were steamboats travelling between Hong Kong and Macau, stopping at Cheung Chau to pick up and drop off passengers and cargo before continuing the voyage. The pier anchored at that time was near the current Pak Kok Tsui.

1898 年到訪長洲的英國戰艦 1898 British battleship visited in Cheung Chau

1898 年到訪長洲的英國戰艦 1898 British battleship visited in Cheung Chau

1950 年代前帆船 Sailing Boat in 1950

1950 年代前帆船 Sailing Boat in 1950

二十世紀初至1940年代，雖然每日有街渡行駛港島，然由於已有專線載客渡輪行駛港島，街渡亦漸由客貨兩用，改為專門載貨。而當時的街渡碼頭，就在現時的公眾碼頭位置。戰後長洲有兩艘主要街渡長利及星有利，專門從港島西營盤運貨至長洲；每日定時午夜三時由長洲啟航，早上五時到達港島西環。此外還有大利街渡及一些貨艇載貨往來港島。

From the beginning of the twentieth century to the 1940s, kaito ran daily between Cheung Chau and Hong Kong Island, there were dedicated passenger ferries operating on Hong Kong Island, kaito gradually changed from both passenger and cargo to specialized cargo transportation route. At that time, the Kaito Wharf was located at the current public wharf. After the war, Cheung Chau had two main kaito operators, named Cheung Lee and Xing Yi, specializing in transporting cargo from Sai Ying Pun to Cheung Chau. They sail from Cheung Chau at 3 am daily and arrive at Sai Wan at 5 am. There are also Dali Kaito and some cargo boats carrying cargo to and from Hong Kong Island.


1970年代至今年中，長洲每日有兩艘街渡長安及大眾，來往長洲與九龍油麻地及香港西營盤。另有兩艘貨艇，每日亦有運載日用品到長洲，現時運載貨艇為志達及德利。

Since 1970s, Cheung Chau had two Kaito operators Chang An and Public operates daily between Cheung Chau and Yau Ma Tei, Kowloon and Sai Ying Pun, Hong Kong. Aside of Kaito, there are also two cargo boats that carry daily necessities to Cheung Chau, the current cargo boats are Zhida and Deli.

長洲為繁盛漁港，除住家艇外；自不免有載人載貨的小船或街渡，穿梭於漁船或各海灣間。以往載客小艇多用橹榣，泊於長洲灣主要渡頭。上世紀六七十代，機械的使用，載客艇漸次引用摩打推動；船速比前更快，航程也比前遠，且有小型載人街渡行走公眾碼頭與附近各海灣。

Cheung Chau is a prosperous fishing village, apart for living boats; inevitably there are boats or kaitos that carry people and cargo shuttle between fishing boats or islands. In the past, passenger boats mostly human rowed and berthed at the main ferry of Cheung Chau Bay. In last century 60s and 70s, with the use of machinery, passenger boats gradually used motor propulsion; the speed of the boat is faster, and the voyage journey also shorter than before. There are also small passenger kaito to operate between the public dock and nearby bays.

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載貨艇除了裝載得更多魚獲外，還可在中途回程的漁船上交收，把魚獲運到香港各區漁港。現時街渡也應用於垃圾運輸船。

In addition to carrying more fish, cargo boats can also use to deliver the fish to fishing ports on their return journey. Now, kaito is also use in garbage transportation.

渡海小輪 Ferry

二十世紀初，由於長洲水上交通四通八達，來往省港澳的蒸汽船多途經長洲，視長洲為中途補給站。當時除街渡行駛各地外，還有街坊開辦用蒸汽推動的「火船仔」來往港島；而碼頭則設在長洲灣現時渡輪碼頭較南面，對正碼頭直街，不過沒有上蓋。

At the beginning of the twentieth century, Cheung Chau water transportation has extended in all directions. Steam boats travelling to and from the China provinces, Hong Kong and Macau all passed through Cheung Chau on many routes, Cheung Chau was regarded as a midway supply station. At that time, in addition to kaito traveling everywhere, there were also local resident operated steam-propelled "fire boats" running to and from Hong Kong Island. The uncovered pier was located in Cheung Chau Bay, south of the current ferry pier facing the pier main street.

1910年代蒸氣推動載人到香港的「火船仔」Steam-propelled "fire boats" in 1910s

1910年代蒸氣推動載人到香港的「火船仔」Steam-propelled "fire boats" in 1910s

至1930年代，新界小輪公司每日有三班「火船仔」來往長洲與香港；即早上六時、下午一時及五時半。「火船仔」名為「新洲渡輪」，1929年下水；船身長120呎，23.5呎闊。渡輪有兩層高，上層只載客，而下層則客貨兩用。「火船仔」可載客300人，船上有電燈及救生設備，在當時頗為先進。昔日長洲碼頭，早期也有人在街上打鑼提醒乘客預期上船。通常「頭鑼」會慢慢打，「二鑼」會加快節奏和頻率，「三鑼」則再加快，很有特色。

In the 1930s, the New Territories Ferry Company had three “fire boat” rides between Cheung Chau and Hong Kong every day, respectively 6 am, 1 pm and 5:30 pm. The “fire boat” launched in 1929 and named "Xinzhou Ferry", 120 feet long and 23.5 feet wide. The Xinzhou ferry is two stories ferry, the upper deck carries passengers, while the lower deck serves both passenger and cargo. The “fire boat” can carry up to 300 passengers and equipped with electric lights and lifesaving equipment, which was quite advance facility at the time. In the old days of Cheung Chau Pier, some people played gongs on the street to remind passengers on board to the ship. Usually the "1st gong" will be played slowly, the "2nd gong" will speed up the rhythm and frequency, and the "Last gong" will speed up again, which is very distinctive.

1938年11月7日油麻地小輪公司接辦長洲線，一度由三班加至五班，不過四十年代航班不穩定，日治時期曾一度停駛。四十年代，每日曾有4班渡海小輪由長洲開往香港；即上午三時及七時四十五分，下午四時及六時四十五分。而每日由香港開返長洲亦有四班，星期日則另加一班晚上九時三十分；每日四班即上午六時，下午二時、五時三十分及八時。航程約1時10分；頭等三毫半，二等二毫。

On 7 November 1938, the Yau Ma Tei Ferry Company took over the Cheung Chau Line, and increased daily frequency from three to five. However, the schedule was unstable in the 1940s, and it was temporarily suspended during the Japanese occupation. In the 1940s, there were 4 daily ferries running between Cheung Chau and Hong Kong: 3 am, 7:45 am, 4 pm and 6:45 pm. There are also four sails from Hong Kong back to Cheung Chau every day. There are an additional sail at 9.30pm on Sunday. Four sails a day at 6am, 2pm, 5:30 and 8pm. The voyage is about 1:10, first class fare at three and a half cents, second class fare at two cents.


至1950年代，油麻地小輪公司每日已有5班直航來往長洲與香港，後期還有4班迴航經梅窩坪洲至港島，假日還會加開航班。直航時間通常為一小時，回航時間為一小時半，而當時所泊的碼頭則在港島統一碼頭。七八十年代是油麻地小輪的黃金時期，那時班次更多，兩層高的小輪擴展為三層高；後期還加開水翼船及氣墊船，來往港島的時間更快。

By the 1950s, the Yau Ma Tei Ferry Company had five direct schedules daily travel between Cheung Chau and Hong Kong. Later, it was extended to four return route via Mui Wo and Peng Chau to Hong Kong Island, additional sails would be operated on holidays. The direct voyage time is usually one hour, the return voyage time is one and a half hour. The pier at the time was the United Pier on Hong Kong Island. 

The 1970s and 1980s was the golden age of the Yau Ma Tei Ferry. At that time, it substantially increased daily ferry schedule s, and upgraded the two-story ferry to three-story ferry. Later, hydrofoil and hovercraft were also added, and much improved the travel time between Hong Kong and Island.

不過隨著海底隧道及地鐵等交通投入服務，渡輪業前景每況愈下；最終油麻地小輪於2000年結束長洲航線，改由新世界第一渡輪公司(新渡輪)接管。政府為確保渡輪公司可正常運作，每期 (三年)都有一筆特别協助措施的保助金資助渡輪公司。

With the commissioning of transportation, such as the Cross-Harbour tunnel and MTR, the ferry industry prospects are deteriorating. The Yau Ma Tei Ferry has ended the Cheung Chau route in 2000 and was taken over by New World First Ferry Company (NWFF). To ensure the normal operation of the ferry company, the government has a special assistance scheme to subsidize the ferry company every period (three years). 


此外，在長洲及香港仔居民的長期要求下，另一條新航線由翠華船務(香港)有限公司從長洲開往香港仔，亦於2015年8月8日啓航，行程約一小時。每日有七班航班，假日則加開數班，以利居民及旅客。不過因載客量不足，已於2019年底起停航。

In addition, under the long-term request of the residents of Cheung Chau and Aberdeen, another new route from Cheung Chau to Aberdeen operated by Tsui Wah Shipping (Hong Kong) Co., Ltd. also set in service on August 8, 2015. The journey takes about one hour, there are seven sailings a day, and several additional schedules are operate on holidays to facilitate residents and passengers. However, due to low passenger usage capacity, Cheung Chau to Aberdeen route is closed in end 2019.

新世界渡輪船隊 New World First Ferry fleets


現時新渡輪是唯一提供長洲與香港海上交通的公司，每日提供四十餘班普通及快速航班服務，另提供多班横水渡行走長洲與大嶼山和坪洲。

At present, New World First Ferry is the only company that provides ferry transportation between Cheung Chau and Hong Kong. It’s now provides more than 40 ordinary and fast ferry sailings a day, NWFF also operates Inter-Island ferry services among Cheung Chau, Chi Ma Wan, Mui Wo Lantau and Peng Chau.

橫水渡穿梭長洲, 芝麻灣, 梅窩, 坪洲 

Inter-Island ferry services among Cheung Chau, Chi Ma Wan, Mui Wo Lantau and Peng Chau.

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Hui Fai Ching Basil moved to Cheung Chau with his mother when he was young, and it has been more than 50 years. In recent years, he has focused on researching the history, culture and environmental conservation of Cheung Chau Island.

許輝程年幼時隨母移居長洲，轉瞬已五十多年。近年專注研討長洲島上歷史文化及環境保育。

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Cheung Chau Water Dialect 長洲水話 ~ Chantoneasy | Lism | Eco Cheung Chau

Did you know that the name ‘Hong Kong’ came from the Water Dialect 「水話 」, which used to be spoken by local fishermen, the “Tanka” or “on-water people” who lived along the coasts of Southern China for hundreds of years? Sarah Yip from Eco Cheung Chau / Floatudio is happy to share her collection of the fast disappearing Water Dialect vocabularies she has gathered through direct interviews with Tanka elders in Cheung Chau and other islands. You can learn to speak Water Dialect like a native, as well as the Cantonese equivalent, by simply following the Chantoneasy®️ method developed by Tiff Chan.

您知道「香港」英文名字的讀音是依據「水話」的嗎？「水話」是過去幾百年南中國沿海「蛋家」漁民，即「水上人」所說的話。Sarah Yip (Eco Cheung Chau / Floatudio ) 樂於和你分享她在過去幾年由親自訪問長洲及其他離島「蛋家」長輩搜集回來的僅存「水話」詞彙。憑Tiff Chan 陳曉蕾創立的Chantoneasy®️譯音系統，你定能輕易準確的講「水話」及同義的廣東話。

Recorded in 2017 by Tiff Chan and Sarah Yip, you hear Cheung Chau residents speaking Tanka phrases.

Through a few interviews and conversations with first, second and third generation fishermen families living in Cheung Chau, Chantoneasy® supports Sarah Yip from Floatudio and to gather first-hand information on the particular words that can still be remembered by fewer and fewer people. The Water Dialect is spoken by the Tankas or boat people -  水上人"the people who live on the water" (officially named ‘on-water people’). Their families were fishermen, distinctly different from city dwellers, who they still call 街上人"the people who live on streets". 

水話 "Water Dialect" consists of specific words that are distinctly different, yet spoken in the context of Cantonese, most often to make references to their boats when giving orders (ie for orientation). It is hard to guess the meanings of their terminology – some are related to what they are referring to in Cantonese, but most only translate by sound (‘homonyms’) and not by meaning. 

This project reveals the roots of why 'Hong Kong' was spelled this way, despite modern pronunciation 'hœng gong'. It is how "the people who live on the water" still pronounce it today. It is likely that they have been in Hong Kong far earlier than the Han Cantonese. Perhaps there was a time when they spoke a much purer version of Water Dialect without as many recognizable Cantonese words.

This information does not do justice to the legacy of ‘on-water people’ in Hong Kong’s history. Here’s your chance to keep the Water Dialect alive, by respecting their place in forming a part of Hong Kong as we know it today. Surprise the fishermen next time you’re taking a sampan ride or buying fresh produce from them! 

透過跟長洲漁民、第二代 及第三代家庭進行訪問及交談，我們採集了現在越來越少人記得及運用的水上話。「水上人」意指居住在水上的人；而「街上人」則意指離開漁船移居到陸地上生活的漁民。

水話是一種粵語方言，與粤語的標準口音廣東話基本相通。漁民在船上生活和作業，產生的水話中有些特定好字或詞是跟廣東話完全不一樣的。 

這個啟發性的活動亦令我們發現了原來香港的英文名稱 Hong Kong 正正就是水話(蜑家話)發音的音譯。 水上人一直以來用「糠港」 稱呼這塊土地，他們到現在亦不察覺讀音其實和香港人廣東話不一樣。 

 Going from being an office lady in Central to being a junk boat captain, Sarah Yip defines working at sea as one of the hardest and most dangerous jobs ever. Photo courtesy of Sarah Yip

 Mrs. Leung has been a sampan driver in Cheung Chau waters for the past 30 years. She has recently been raising a black kitten to help her chase rats away. Photo courtesy of Sarah Yip

Workshop Profile.jpg

A chance encounter teaching Cantonese to a friend in 2015 set off a chain of eureka moments that sparked artist, natural linguist, educator, and expressive arts therapist Tiff Chan’s multidisciplinary creativity to give birth to Chantoneasy®, a highly intuitive method that revolutionizes how easily tonal languages can be spoken even before actually learning them, by visually and physically associating all words with musical notes.

Language teaching and transcribing, works symbiotically with her facilitation in Intermodal Expressive Arts Therapy, as a way to build trust, connection and transcend perceptions of difference. Tiff’s alter ego “ArtyCatalyste” reflects her passion for enabling others to experience the therapeutic capacity of all art forms, whether wordplay/poetry/writing, visual arts, movement/dance, drama or music, for well-being, self understanding, healing, and strength-building in resiliency.

“While all the other subjects basically just required me to repeat what the predecessors had said, I was drawn to the arts from an early age, by the infinite possibilities they offer to allow me to think and share my feelings as a human being.”

Tiff Chan 陳曉蕾/ ArtyCatalyste 從事藝術、語言研究、教學工作及創立 Chantoneasy。教授語言及語音記錄有助她利用多元表達藝術治療去助人建立信任和聯系,凌駕彼此直覺上的分歧。她最喜歡協助他人體驗各種藝術媒體的治療作用、 不論是字辭/詩詞/文章,視覺藝術、動作/舞蹈,話劇或音樂,均可令人愉悅,促進自我反省、康復及抗逆能力。她展開她的藝術生涯時是利用身體作基本媒體去做表演藝術、素描及錄像。

「藝術使我從少便著迷的地方是它能給我無限空間去思考和分享我作為一個人的感受，其他科目基本上祗需我重覆前人所説的。」

在 2015 年一個教朋友說廣東話的偶然機會,引發起Chantoneasy 「唱多易」的誕生。她把她在藝術,舞蹈和話劇的創意都放進這革命性的語音記錄系統,務求讓使用者甚至在未認識一種語言前都可把它不同的音調準確地記錄和覆述。

www.facebook.com/chantoneasy

Contact here if you are interested in taking Chantoneasy classes or want to know more about Eco Cheung Chau and we will help connect you.

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Hong Kong’s Vietnamese Refugees ~ Christopher DeWolf / Zolima CityMag

The end of the Vietnam War sent vast numbers of refugees fleeing the country. Most of them piled onto rickety, overcrowded boats, making it as far as Hong Kong, where more than 200,000 people sailed into the harbour. What they found was not freedom, however, but years of harsh confinement.

越南戰爭的結束使大量難民逃離該國。 他們中的大多數人堆在搖搖欲墜，人滿為患的船上，直達香港，超過20萬人駛入海港。 然而，他們發現的不是自由，而是多年的嚴格監禁。

Read the full article:

‘Fighting until the end: Hong Kong’s Vietnamese Refugees‘

by Christopher DeWolf for Zolima CityMag [2019]

Photos Vietnam Refugees001a.jpg

All photos kindly provided by Carina Hoang of vietnameseboatpeople.hk

Photo: Nikki Wing

Photo: Nikki Wing

Christopher DeWolf is the managing editor of Zolima CityMag. His work on urbanism, architecture, design, art and culture has also appeared in the South China Morning Post, Wall Street Journal, TIME, the BBC and many other media outlets. His book on Hong Kong's unique urban culture, Borrowed Spaces: Life Between the Cracks of Modern Hong Kong, was published by Penguin in 2017.

Christopher DeWolf是Zolima CityMag的執行編輯。 他在城市主義，建築，設計，藝術和文化方面的工作還出現在《南華早報》，《華爾街日報》，《時代》，英國廣播公司和許多其他媒體上。 企鵝出版社於2017年出版了有關香港獨特城市文化的書《借來的空間：現代香港之間的生活》。

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Evelyn ~ Knudsen / Jensen

In 2011 we were lucky to go aboard Evelyn, then the biggest container ship in the world. We were bedazzled, especially with her engine room of many floors and the deep hum that surrounds you. At the time of writing this she is sailing under the Danish flag in the West Mediterranean through the Strait of Sicily which divides the Tyrrhenian Sea and the western Mediterranean Sea, from the eastern Mediterranean Sea. Right now her exact coordinates are: 36.65253° Latitude / 13.30656° Longitude Emma was built by Maersk in 2006 and Evelyn is her younger sister by one year, both are 400 metres long, approximately 4 football fields in length. Their reign supreme ended in 2012 with the birth of CMA CGM Marco Polo who is in fact the same length but 5cm wider. However, where Evelyn could contain 15,550 TEU (twenty-foot equivalent unit), Marco Polo has capacity for 23,964 TEU. So its game over for now unless Maersk can put out a higher capacity vessel but nonetheless what we witnessed was still to enter a giant, with an elevator to pass between floors and ironically the smallest steering wheel we had ever seen! These photos and audio recordings were our way to remember the experience and we hoped that we might get to travel on a container ship as part of our research into mass production and globalisation - a project that morphed into what became ‘Exit Strategies’ by Happy Gorilla Dance Company.

2011年，我們很幸運地登上了當時世界上最大的集裝箱船伊夫林（Evelyn）。我們眼花azz亂，尤其是她的機艙擁有許多樓層，周圍環繞著深深的嗡嗡聲。 在撰寫本文時，她正在丹麥國旗下航行於西地中海，途經西西里島海峽，該海峽將第勒尼安海和西地中海與東地中海分開。 現在，她的確切坐標是：36.65253°緯度/ 13.30656°經度 艾瑪（Emma）由馬士基（Maersk）於2006年建造，伊芙琳（Evelyn）則是她的妹妹，一年都長400米，大約有四個足球場。 他們的最高統治權在2012年隨著CMA CGM Marco Polo的誕生而結束，實際上他的長度相同，但寬5厘米。 但是，在Evelyn可能包含15,550 TEU（二十英尺等效單元）的地方，Marco Polo的容量為23,964 TEU。 因此，除非馬士基能夠推出更高容量的船隻，否則它的比賽現在就結束了，儘管如此，我們所看到的仍然是進入一個巨大的世界，其中有一部電梯可以穿越樓層，具有諷刺意味的是，這是我們見過的最小的方向盤！ 這些照片和錄音是我們記住經歷的方式，我們希望我們可以在集裝箱船上旅行，這是我們對批量生產和全球化進行研究的一部分-這個項目演變成Happy Gorilla的“退出策略” 舞蹈團。

Photography by Jensen | Sound score by Knudsen

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Jensen met Knudsen in 2007 when Baktruppen were giving an experimental theatre workshop to Dartington students. They later went on to work together in Happy Gorilla Dance Company.

詹森（Jensen）於2007年遇見了克努森（Knudsen），當時巴克特魯彭（Bektruppen）為達頓頓（Dartington）的學生舉辦了一場戲劇性的戲劇工作坊。 後來他們不再繼續在快樂大猩猩舞蹈團工作。

Jensen has worked between dance, theatre, community & education work, photography and curation. She now works at Blue Lotus Gallery and is the driving force behind Cheung Chau Wave 浪長洲 and the curator for 渡 ( portal ) 2020.

Jensen從事過舞蹈，戲劇，社區和教育工作，攝影和策展工作。 她現在在藍蓮花畫廊（Blue Lotus Gallery）工作，是長洲波浪（Chung Chau Wave）和2020年跨年（策展人）策展人的推動力。

Jørgen Knudsen

From Bergen, the west coast of Norway. Educated as a chemical engineer. He started with musical activities in beginning of the 1980´s with the band Alle Tiders Duster, a band that experimented also with visuality in connection with music. From mid-80´s Knudsen mostly worked alone and composing music to different live art activities as theatre, dance, art performance, musical installations. In 1994 Knudsen formed Information together with Per Henrik Svalastog, and had its first release in 1994 on Beatservice records where they later on had several releases. Later they signed with Rune Gramofon and in 2002 released the album Biomekano. Further on Knudsen composed music to numerous theatre and dance performances, nationally and internationally, and is today most known as participant in the art collective Baktruppen. He now work as a consultant in the Norwegian Arts Council.

約爾根·克努森（JørgenKnudsen）：來自挪威西海岸的卑爾根。 受過化學工程師教育。 他從1980年代初開始從事音樂活動，當時他的樂隊是Alle Tiders Duster，該樂隊還嘗試了與音樂相關的視覺效果。 從80年代中期開始，克努森大部分時間都是獨自工作，將音樂創作到各種現場藝術活動中，例如戲劇，舞蹈，藝術表演，音樂裝置。 1994年，克努森（Knudsen）與Per Henrik Svalastog一起組建了Information公司，並於1994年在Beatservice唱片上首次發行，後來又發行了多個唱片。 後來他們與Rune Gramofon簽約，並於2002年發行了專輯Biomekano。 克努森（Knudsen）進一步在國內和國際上為許多戲劇和舞蹈表演創作音樂，如今已成為藝術團體Baktruppen的參與者。 他現在是挪威藝術委員會的顧問。

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