Hong Kong: Living in a Post-Colonial Era?

H O N G KO N G : LIVING IN A POST C O LO N I A L E R A ( ? )

Fig.1. Tai Kwun Courtyard Drawing Partial (Yim, S. 2021)

SONYA YIM (NO750140)

Copyright 2021 Sonya Yim All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying, scanning or other electronic or mechanical methods without the prior written permission of the publisher.

Page 3 | Contents

RESEARCH QUESTION

04

ABSTRACT

05

LITERATURE REVIEW

07

RESEARCH INTRODUCTION

11

HONG KONG & TAI KWUN TIMELINE

12-13

ESTABLISHING A POST COLONIAL IDENTITY?

14-15

ART AND HERITAGE SURVIVING IN A POST COLONIAL CITY

16-17

A POLITICAL REVOLUTION THROUGH ART

18-19

TAI KWUN MAP DIRECTORY

20-21

TAI KWUN: A GLIMPSE INTO HONG KONG’S COLONIAL PAST

22-23

TAI KWUN: LIEUX DE MÉMOIRE. A LIVED SPACE?

24-25

TAI KWUN: PERSONAL ANECDOTE, CIRCA 2018

26-29

TAI KWUN: PERSONAL ANECDOTE, GENERATIONAL DISPARITY

30-31

TAI KWUN: EXHIBITIONS

32-33

TAI KWUN: FIELD OBSERVATION FINDINGS

34-37

INTERVIEW FINDINGS

38

CONCLUSION

39

FIGURES LIST

40-41

BIBLIOGRAPHY

42-43

APPENDIX A

44

APPENDIX B

45

APPENDIX C

46

APPENDIX D

47

FROM A SYMBOL OF COLONIAL GOVERNMENTALITY TO AN ARTS AND HERITAGE DESTINATION: EXPLORING THE RE-WRITTEN COLONIAL NARRATIVE OF ‘TAI KWUN’ AND THE SUBSEQUENT REFLECTION ON HONG KONG’S POST-COLONIAL IDENTITY.

Fig.2. Tai Kwun Courtyard Drawing (Yim, S. 2021)

Page 4 | Research Question

SONYA YIM INVESTIGATING HONG KONG’S POST COLONIAL IDENTITY Growing up in Hong Kong, it is evident the city’s colonial past is ingrained into every aspect of the ever changing landscape. Without these influences, Hong Kong would simply cease to be the metropolis it is today. However with the recent political plight between Hong Kong and the People’s Republic of China, Hong Kong’s political autonomy is at stake.

Caught between two cultures, Hong Kong is loosing it’s identity. However, whether Hong Kong has truly established its post colonial identity is questionable. Through the lenses of art and heritage I aim to uncover Hong Kong’s colonial roots, focusing on the former colonial police compound ‘Tai Kwun’ as my case study.

I aim to investigate the parallel relationship between Hong Kong’s journey on finding its post colonial identity and the direct correlation with art and heritage. Thus, leading to my research thesis.

Page5 |5Abstract Page |

Page 6 |

Fig.3. Police Headquarters Photograph (Yim, S. 2021)

LITERATURE REVIEW Colonial culture is ingrained into Hong Kong. The city’s colonial past and heritage play a fundamental role in the narrative of Hong Kong’s ‘post-colonial’ identity. Through the investigation of former police compound ‘大館 (Tai Kwun)’ (colloquially as big compound), now serving as a revitalised art and heritage centre and historical memorial site. How does the re-written narrative of Tai Kwun subsequently reflect the nature of Hong Kong’s current post-colonial identity? Thus, it would benefit to look further into colonialism and post-colonial identity of Hong Kong, art and heritage, representational space and Tai Kwun.

To uncover Hong Kong’s ‘post-colonial’ identity, there must be a fundamental understanding into colonial history. Liza Wing Man Kam investigates the plausibility of Hong Kong’s ‘decolonisation’ in a ‘post-colonial’ state, examining colonial heritage sites, studying the relationship between architecture and civic awareness (Kam, 2015). Kam exploits architecture as a reflection of colonial past, a physical manifestation of the city’s history and heritage. Hence, through removal or rewritten narrative of these sites, part of Hong Kong’s colonial past would be demolished. Whether Hong Kong has established their post-colonial identity is debatable. “… the externally lingering colonial legacy and the never achieved ‘decolonisation’, in this post-colonial neo-colonial era.” (Kam, 2015, p. 186). The proposition of Hong Kong existing within a ‘post-colonial neo-colonial era’ presents the city’s heritage in a new light. Hong Kong’s multi-national identity with ties to both Britain and China is indisputable. Struggling to detach as a ‘post-colonial’ city whilst establishing it’s cultural heritage. Similarly, Leung highlights the political and cultural divide in Hong Kong. ”Caught in the double blind of divided loyalties, [being] politically ambivalent about both Britain and China.” (Leung, 2009, p. 28).

Kam and Leung indicate Hong Kong’s lack of political and heritage independence. Thus, to what extent a city yet to achieve independence able to curate it’s post-colonial identity? Rather, it appears Hong Kong has just begun their narrative on achieving a ‘post-colonial’ identity.

From a small fishing village to thriving financial hub that is now Hong Kong, art and heritage has never been at the forefront in curating the city’s identity. “Conditions of local culture and meanings of place are complex and often subtle in Hong Kong, where local history, culture and politics have reliably come to centre stage only in the post-1997 era.” (Cartier, 2008a, p. 78). Due to Hong Kong’s colonisation, it was not until recent years priority was placed on cultivating culture through the development of art and heritage. A city caught between cultures, the ambiguity of Hong Kong’s ‘post-colonial’ identity is reflected amongst the art and urban heritage. “The post modern moment in Hong Kong art took the form of a rejection of all master narratives, whether of chineseness or of western-centered conceptions of modernity or contemporaneity.” (Clarke, 2000a, p. 90). It is evident art and heritage in Hong Kong has yet to determine the roots of it’s culture.

Page 7 | Literature Review

Growing up in a British colony, Linda Lai creates mixed-media art, motivated by memories of her childhood. Inspired by her grandmother, Lai attempts to recapture the past. Commenting on forgotten and untold ‘stories of labourers’ working under colonial rule (Lai, 2012). In contrast, prominent local artist Kacey Wong comments on the controversial political divide through his work “The Patriot” (Wong, 2008). ‘One country, two systems’ policy implemented since 1980’s has always allowed Hong Kong a degree of freedom. However, since the 1997 handover and national security law, the fundamental difference in freedom between Hong Kong and china dwindles, rousing protests from locals. For artists like Wong, the art platform is a medium in which they are able to express themselves amongst this political divide.

Both local artists demonstrate the effect of colonial rule from past to present. Exemplifying there is no denying Hong Kong’s colonial past directly influences the city’s art and heritage.

Colonial architecture integrated within the heart of an urban jungle, Tai Kwun is an escape from the hectics of city life to immerse in the arts and heritage of Hong Kong. Heathcote studies the clever manipulation of public space and exploitation of these architectural nooks. Revitalising Tai Kwun, the architect’s aim to “create an identity for a piece of emerging and still half-formed city” (Heathecote, 2018, p. 2) is encouraging in a city where real estate is a precious commodity, “the most valuable site should be devoted to public culture” (Heathecote, 2018, p. 2). Can a significant heritage site truly rewrite their narrative? “after decolonisation, colonial heritage spaces also did not suddenly shed it coloniality.” (Leung, 2009 p. 25). Leung asserts the site is not simply a reminder of Hong Kong’s colonial past. The crossover of contemporary cultural heritage blended with colonial past is evident in the revitalisation of these heritage sites. Examining the space not as built environment rather as historical representations filled with memories of the colonial past and reminders of the past ‘colonial governmentality’.

Page 8 | Literature Review

Although there is a myriad of aspects admired through the built environment, just as meaningful is the intangible history, memories and emotional associations one forms with a space. Phenomenology introduced by Sokolowski is “…the study of human experience and of the way things present themselves to us in and through such experience” (Sokolowski 2000, p. 2). Connections formed with space will be representational to personal experiences. Therefore, despite the physically unchanged built environment, it can be concluded each individual’s experience and emotional attachment to space would be unique.

Lefebvre’s ‘Representational Space’ advocates space is not merely just the built environment, but is rather ‘lived space’ (1992, p. 39). Representational space is what space could represent, whether situation or relational, space is ‘fluid and dynamic’( Lefebvre, 1992), extending beyond the tangible. “Representational spaces: space as directly lived through its associated images and symbols”( Lefebvre, 1992, p. 39). This ultimately questions how a colonial heritage site is perceived by individuals of different upbringing, ethnicity and age. Whereby rewritten narrative could impact a society’s outlook on post-colonial identity. ‘Lieux de memoire’ or sites of memory (Nora, 1989) highlight the significance of phenomenological associations with space. Illustrating any significant site can become a symbolic memory of heritage (Nora, 1989). Although a site can be repurposed, the original architecture holds memories of the past. Symbolic of the city’s heritage.

Architecture is not one-dimensional, rather history and heritage provide depth to the narrative.

Through the examination of existing literature from different perspectives on colonialism, art and heritage, Tai Kwun and representational space, it can be concluded there has yet to be research analysing the correlation between Tai Kwun and post-colonial Hong Kong Identity. Thus leading to the research question investigating: “From a symbol of colonial governmentality to an arts and heritage destination: Exploring the re-written colonial narrative of ‘Tai Kwun’ and the subsequent reflection on Hong Kong’s post-colonial identity.”.

Page 9 | Literature Review

Page 10 |

Fig.4. JC Contemporary Photograph (Yim, S. 2021)

INTRODUCTION Colonialism is embedded throughout Hong Kong’s history and traces of colonial governmentality is imbued into everyday life through politics, societal conduct and architecture.

Growing up in Hong Kong surrounded by colonial artefacts, like many of my generation I was blissfully unaware of the controversial connotations it held. The concept of ‘Les lieux de mémoire’ (Nora, 1989) signifies that associations and memories with existing decommissioned heritage spaces can’t simply be erased. Tai Kwun, formerly known as the Victoria prison compound was recently revitalised in 2018 into an art and heritage institution.

Although the remaining colonial architecture has been re-purposed, the compound still holds memories and stories lived out by the colonisers and people of Hong Kong.

With the divide between Hong Kong people and mainland China more prevalent than ever, a city caught between their colonial past and Chinese heritage, Hong Kong struggles to establish a ‘post-colonial’ identity. Thus, through the examination of art and heritage with a focus on 大館 Tai Kwun’s narrative, delving into investigating the juxtaposition between how the institution represents itself in comparison to how the people of Hong Kong perceive and utilise Tai Kwun. Is this representation of Tai Kwun a reflection of Hong Kong as a society reacting to the colonial past? This thesis will take on an ethnographic and auto ethnographic methodology of research, as well as participant observation, field notes and surveys. Through these methods of research it is aspired to provide some insight into whether Hong Kong can claim its post-colonial identity through the revitalisation of a symbol of colonial oppression (Heathcote, 2018) turned heritage site.

Page 11 | Introduction

Fig.5. Hong Kong Colonial and Tai Kwun Timeline (Yim, S. 2021)

Page 12 | Timeline

Page 13 | Timeline

ESTABLISHING A POST COLONIAL IDENTITY?

Fig.6. Colonisation and Post Colonial Identity Collage (Yim, S. 2021)

Page 14 | Establishing a Post Colonial Identity?

ESTABLISHING A POST COLONIAL IDENTITY? While most colonies have a pre-established sense of culture and identity, the same could not be said for the former barren island known as Hong Kong. Mostly comprised of immigrants, citizens did not consider Hong Kong to be a ‘home’ but rather a place of work. It wasn’t until 1997 did the people of Hong Kong start developing an interest in cultivating a cultural heritage and sense of identity to the island (Lu, 2009). Hong Kong is thought to have long shed its colonial overrule since the handover. However, many colonial buildings and European customs remain, generating an international city composed of both Chinese and European heritage. The effects of post-colonialism and discovery of Hong Kong’s heritage and post-colonial identity is not without tribulation, “Caught in the double blind of divided loyalties, [being] politically ambivalent about both Britain and China.” (Leung, 2009, p. 28). Many still argue the ongoing political disputes with mainland China. Hong Kong has yet to fully cultivate its post-colonial identity, rather, it is still ‘searching for it’s sub-national identity’ (Leung, 2009, p. 38). This begs the question, how can a city without political independence establish a ‘post-colonial’ identity?

Page 15 | Establishing a Post Colonial Identity?

ART AND HERITAGE SURVIVING IN A POST COLONIAL CITY.

Fig.7. HK Heritage Museum x Young British Artist Collage (Yim, S. 2021)

Page 16 | Art & Heritage Surviving In a Post Colonial City

ART AND HERITAGE SURVIVING IN A POST COLONIAL CITY. A city rich in history and culture, yet growing up in Hong Kong there was little emphasis to the arts and heritage. Rather, the city was centralised as the financial hub of Asia. As Cartier suggests:

“During the 1960s there was a lot of local discussion about promoting arts education, but the colonial government decided that they would promote design instead, because design is about the practical use of creativity. From its earliest stages then.. Art was secondary, and it’s an idea that was accepted by educators” (Cartier, 2008a, p. 61).

Whilst art and heritage has never been a priority in Hong Kong cultivating their ‘post-colonial’ identity, recently the Hong Kong government has recognised the importance of developing the arts and heritage scene. My earliest of memories of experiencing art and heritage in Hong Kong required taking a day trip to 沙田 Sha Tin to visit the Hong Kong Heritage Museum. It was the first time I remember being thoroughly immersed in the art and heritage of Hong Kong, a space truly dedicated to the education and cultivation of local culture, showcasing an assortment of exhibitions. From their permanent exhibit on Cantonese opera to temporary exhibits collaborating with the British Council to showcase ‘Made in Britain: Contemporary Art from the British Council Collection 1980-2010’ (HK Government News, 2011). The exhibit showcases contemporary art from ‘Young British Artist’, including the likes of Damien Hirst, Cornelia Parker and Richard Wright (HK Government News, 2011). The British contemporary art world is not afraid to make bold statements with their art, often commenting on political, social and global issues.

The often controversial British art scene defies against Hong Kong’s typically censored culture.

Page 17 | Art & Heritage Surviving In a Post Colonial City

A POLITICAL REVOLUTION THROUGH ART. Nonetheless, with the recent political plight Hong Kong has been thrust into, the establishment of the national security law, now more than ever Hong Kong people have a raised interest and vocalised about their independence and freedom. Free from colonial rule and free from mainland China, paving the way to become something else unto itself.

“For China the Joint declaration and the resumption of control over Hong Kong were simply episodes in a larger story of resurgent national pride, but in Hong Kong itself the prolonged period of countdown to a date when the territory would be incorporated into a much larger entity with an alien political system was a time of increasing anxiety about political autonomy and cultural identity.” (Clarke, 2000a, p. 90).

At the height of protests for independence and political freedom, controversial local artist Kacey Wong utilises satirical art to revolt against censorship in Hong Kong. In particular his piece titled ‘The patriot 愛國者’ depicts Wong playing the Chinese national anthem inside a 80x80 red cage (Wong, 2018). This blatant display of sedition against the Chinese government would not have come to fruition without Hong Kong’s colonial past. “… Hong Kong was never a centre of Chinese urbanism” (Cartier, 2008a, p. 63). It cannot be refuted that without its colonial past Hong Kong would not have gained what little freedom it had. It is evident whilst in the past Hong Kong’s art and heritage may have been ambiguous, the contemporary art scene has become a platform in which Hong Kongers are able to express themselves amongst the political divide. Slowly but surely Hong Kong is fighting for its own individual ‘post-colonial’ identity and freedom everyday through various platforms. However, whether this can become a reality still remains to be seen.

Page 18 | A Political Revolution through Art

A POLITICAL REVOLUTION THROUGH ART. Fig.8. Hong Kong Political Art Collage (Yim, S. 2021)

Page 19 | A Political Revolution through Art

Page 20 | Tai Kwun Map Directory

01 Police Head Quarters Block

02 Armoury

03 Barrack Block

04 Married Inspectors Quarters

06 Married Sergeants Quarters

07 Single Inspectors Quarters

08 Ablutions Block

09 Central Magistracy

10 & 13 Superintendents house & C Hall

11 A Hall

12 B hall

14 D Hall

15 E Hall

17 F Hall

19 Bauhinia House

20 JC Contemporary

21 JC Cube

Fig.9. Tai Kwun Map Directory (Yim, S. 2021)

TAI KWUN MAP DIRECTORY

Chan

ane

Yard

Hollywoo

und

St re ley

Parade G ro

n Lane

Bai

Tai Kw u

et

Court Ya rd

Old

Arbu

thno

t Ro a

d

Prison

cery L

d Ro a d

Former Central Magistracy Victoria Prison Compound Central Police Station Compound Fig.10. Tai Kwun 3-D Map Drawing (Yim, S. 2021)

Page 21 | Tai Kwun Map Directory

TAI KWUN: A GLIMPSE INTO HONG KONG’S COLONIAL PAST A city composed of old local ‘唐樓 (Tong Lau)’ (tenements typically found in Asia), skyscrapers and remnants of colonial architecture, the built environment in Hong Kong is truly unique. Although most of the colonial architecture was demolished, a few significant sites still stand and many have been re-purposed into museum/heritage sites, hotels - sites of tourism. The revitalisation of these colonial sites, from a former central police station, central magistracy and Victoria prison turned art and heritage destination, Tai Kwun has established itself as a pillar in Hong Kong’s ever changing landscape. Despite the re-written narrative of Tai Kwun, the site carries memories of it’s chequered past.

Fig.11. Footbridge Gate Entrance Photo Montage (Yim, S. 2021)

Fig.12. Tai Kwun Courtyard Photo Montage (Yim, S. 2021)

Page 22 | Tai Kwun: A Glimpse into Hong Kong’s Colonial Past

TAI KWUN: A GLIMPSE INTO HONG KONG’S COLONIAL PAST.

Fig.13. Tong Lau Drawing (Yim, S. 2021)

Fig.14. Hong Kong Skyline Drawing ( Yim, S. 2021)

Fig.15. Colonial Buildings Remaining in Hong Kong Drawing (Yim, S. 2021)

Page 23 | Tai Kwun: A Glimpse into Hong Kong’s Colonial Past

TAI KWUN: LIEU DE MÉMOIRE. A LIVED SPACE? “These European heritages are not only ‘european’ because of their time of construction, architectural style, but also because of intangible properties such as their historical-political relevance to the colonisers and colonised.” (Leung, 2009, p. 37).

Tai Kwun is not only significant in historical value but on a cognitive level, becoming a ‘lieu de mémoire’(Nora, 1989). The memories imbued within the space cannot be accounted for. How each individual experiences a space is phenomenologically unique. Moreover, how each generation experiences a space would be fundamentally distinct as each generation would form different associations with the space. “There are lieux de mémoire, sites of memory because there are no longer milieux de memoire, real environments of memory.” (Nora, 1989, p. 7). Although many physical aspects of Tai Kwun has fundamentally changed, including modern additions, many of the original structures still stand. The memories embedded into each and every crevice of the space is representational to each individual. Tai Kwun can be classified as a representational or ‘lived space’ (Lefebvre, 1992). A representational space dictates what the space could represent, rather than what is physically apparent. Although Tai Kwun has been curated as a heritage tourism centre, traces of the colonial governmentality cannot be erased from the space. Though the narrative may have been re-written, the history and memories could never be expunged from the narrative.

Fig.16. Tai Kwun Lieux de mémoire (Yim, S. 2021)

Page 24 | Tai Kwun: Lieu De Mémoire. A Lived Space?

TAI KWUN: LIEU DE MÉMOIRE. A LIVED SPACE?

Fig.17. Tai Kwun Phenomenology and Lived Space Collage (Yim, S. 2021)

Page 25 | Tai Kwun: Lieu De Mémoire. A Lived Space?

TAI KWUN: PERSONAL ANECDOTE, CIRCA 2018 Prior to this paper, I had been to Tai Kwun twice. My first interaction with Tai Kwun was hearing from a friend about a new art and heritage centre located in the central district of the island and easily accessible. This was thrilling, as someone with personal interest in the arts, art and heritage has never been easily accessible on the main island, and travelling to the Hong Kong heritage museum would require a day trip. Art galleries on Hong Kong island are limited, I had only previously visited the Gagosian gallery and Ben Brown gallery.

Space is a precious commodity in a city like Hong Kong. The galleries were small and although the art featured was interesting, the overall impression was underwhelming. Tai Kwun granted the opportunity to be presented with something akin to the Tate in London which always left me in awe, amazed and inspired by the art and artists I had encountered.

Page 26 | Tai Kwun: Personal Anecdote, Circa 2018

Fig.18. Sterling Ruby: VIVIDS at Gagosian (Sit, C. 2014)

Ben brown

Fig.19. Make America Great Again (Ben Brown FIne Arts. 2017)

Page 27 | Tai Kwun: Personal Anecdote, Circa 2018

TAI KWUN: PERSONAL ANECDOTE, CIRCA 2018

Fig.20. Central HK and Tai Kwun Collage (Yim, S. 2021)

Page 28 | Tai Kwun: Personal Anecdote, Circa 2018

Fig.6. Name of Image by X ( reference)

Without knowing much other than there was a new art and heritage destination in town, it was only when I arrived to Tai Kwun did I then realise it was a former police and prison compound during the colonial times. Immediately I was aware above anything else, this was a tourist destination prioritised over the arts and heritage of the space. Entering the contemporary gallery space, I reveled in the local art surrounding me. So rarely on Hong Kong island do we get to immerse ourselves in art, that I failed to acknowledge the true existence, connotations and memories the compound held. Although I acknowledged the history and sentimentality of Tai Kwun prior to its revitalisation, I was not immediately stricken by what Tai Kwun truly was. A symbolism of colonial oppression. The political implications, injustice and suffering that had happened, swept over and curated into yet another lucrative tourist trap. Like many others of my generation, it was just the exciting new hot spot destination in the city. Rather all these very real and harrowing parts of history had been ‘revitalised’ into engaging info graphics, just another place to take photos for social media, turned into ‘stories’ for people to glance by as they walked away, never truly taking in the depths of these very real ‘stories’.

Page 29 | Tai Kwun: Personal Anecdote, Circa 2018

TAI KWUN: PERSONAL ANECDOTE, GENERATIONAL DISPARITY Hailing as someone from my generation never having experienced the ‘colonial’ era only knowing Hong Kong as it stands to be now. An international Asia world city bustling with life, it is almost too easy for someone of my stature to overlook the brutalities and implications of the colonial past. In comparison, my mother and grandmother both respectively grew up in very different periods of colonial Hong Kong. My grandmother grew up in one of the fishing villages, her father a fisherman. In contrast to my mother experiencing the end of colonial rule, the handover, to what Hong Kong is now. Three generations experiencing vastly different versions of Hong Kong. My initial experience of Tai Kwun would undeniably be very different to those from my grandmother’s generation. Whereas I initially see an art and heritage centre nestled amongst colonial architecture, my grandmother would see a symbol of the past colonial rule and governmentality over Hong Kong.

Page 30 | Tai Kwun: Personal Anecdote, Generational Disparity

Fig.21. Drawing Depicting Hong Kong Generational Differences (Yim, S. 2021)

Page 31 | Tai Kwun: Personal Anecdote, Generational Disparity

TAI KWUN: EXHIBITIONS Due to the current Covid 19 pandemic, most exhibitions and programmes at Tai Kwun have been suspended, and can be accessed through Tai Kwun’s official website. Taking a look at their recent exhibition ‘Wet feet _ dry feet: borders and games’ by Belgium conceptual artist Francis Alÿs, the exhibition centres around Alÿs’s fascination for borders, migration and children’s games around the world whilst exploring the topic of geopolitical concerns (Tai Kwun, 2020b). Available on the website includes general information about the exhibit and the artist, photos of the exhibition views and exhibition guidebook, however, there are no virtual tours available. Taking a look through the exhibition photos, I became increasingly disenchanted by the ‘exhibition’. Although initially posed to be an interesting conceptual exhibit, the gallery photos are simply attached with the title. Providing no further explanation of the concept behind the work or what inspired the artist to create this piece. Furthermore, there are multiple motion image videos on display, yet there are only screen shots of the video available on the website. The exhibition guidebook does provide some insight but the overall impression is underwhelming, reducing what could’ve been an interesting exhibition to simply images on a screen. If there were virtual tours available, and videography that could be accessed online, it would have made for a much more engaging experience.

With regards to the other exhibits available, from what I am able to gather there is even less information available. ’55 squared’ is a performance piece meant to utilise the courtyard space and engage with the visitors (Tai Kwun, 2020a). Although a promising premise, there are no visuals or images shown apart from a 20 second YouTube video promoting the event. Taking into consideration Covid-19 restrictions it is understandable the event has to be postponed, nonetheless Tai Kwun could have posted images and pamphlets to create a more engaging online presence. All this results in a rather lacklustre display of the arts and heritage in Hong Kong, from the so called ‘arts and heritage destination’. Perhaps this is an accurate reflection on the emphasis Tai Kwun places on actual art and heritage in Hong Kong when there is no tourism or monetary value to be gained.

Page 32 | Tai Kwun: Exhibitions

Fig.22. Wet feet_dry feet: Borders and Games (Alys, F. 2020)

Fig.23. 55 Squared (Cheng, H. 2020)

Page 33 | Tai Kwun: Exhibitions

TAI KWUN: FIELD OBSERVATION FINDINGS Visiting Tai Kwun recently with a new outlook on the arts and heritage centre, what I gathered from the space was vastly different to what I had initially experienced when I first visited in 2018.

Visiting Tai Kwun on 31/12/2020 and 3/01/2021, I wanted to ensure I was conducting my ethnographic research on a simple random sampling basis so that I was able to survey the site during peak and non-peak hours. What was immediately apparent was the amount of people lounging about in the courtyard. Despite Covid-19 restrictions, there was little to no social distancing, with most people packed in the alfresco restaurants, bars and cafes surrounding the central courtyard.

Taking my first walk around Tai Kwun, it dawned on me that there was scarcely anyone paying attention or taking note of the historical significance of the site. It seemed to them that Tai Kwun served as more of a Hong Kong lifestyle hotspot rather than a heritage centre (see Appendix A).

Fig.24. Ethnographic Documentation of People Interacting with Site (Yim, S. 2021)

Page 34 | Tai Kwun: Field Observation Findings

TAI KWUN: FIELD OBSERVATION FINDINGS Page 35 | Tai Kwun: Field Observation Findings

Most everyone had dressed up to take photos with the aesthetics of the architecture, taking photos with the distinctively colonial features without any of the historical context. In one instance I observed a girl dressed head to toe in designer making a beeline for one of the destination photo spots, completely ignoring anything of historical or cultural value (see Appendix B). Another scenario I witnessed a group of girls that had dressed monochromatically to match the existing architecture helping each other take photos for social media. There were a few groups of people that took photos with the existing ‘jail cells’ and other remnants left behind from when it was a prison compound, however to them it seemed more of a trivial and ‘fun’ activity, moving on before even bothering to read the place cards explaining the historical significance. Looking through the tag #taikwun on instagram, there were no mentions of the historical significance of the site nor the colonial past, but was simply filled with pictures of people posing with various corners of the site or taking photos of the ‘award winning food and beverage’. A reflection of how the colonial governmentality and political injustice has been mostly ignored for what is on the surface.

Start Finish Journey Journey Direction Fig.25. Personal Journey Through Tai Kwun (Yim, S. 2021)

Page 36 | Tai Kwun: Field Observation Findings

It was only when I had made my way halfway around the compound did I realise there was a guided audio tour that could be downloaded onto your phone. With barely any advertisement onsite to this feature, I began the audio tour. It was very engaging and definitely provided a lot more insight into the history behind Tai Kwun. However, as packed as Tai Kwun was I noticed I was the only one that had engaged with the audio tour. Whilst most people were taking photos, some would throw quick glances at the signs but not seeming to fully read or care about the cultural and heritage significance of the place. One exception was Individuals that had come by themselves to peruse the site and parents with young children that had brought them to the site to engage and educate them with the cultural and historical context (see Appendix C).

Fig.26. People Posing for Social Media Drawing (Yim, S. 2021)

Page 37 | Tai Kwun: Field Observation Findings

Fig.27. Parent and Child Reading Info-graphic Drawing (Yim, S. 2021)

INTERVIEW FINDINGS Whilst at Tai Kwun, I took the opportunity to interview some of the visitors ensuring to survey from a wide age group and people of seemingly different cultural and ethnic backgrounds.

Most of the visitors on site were between the ages of 16-35 (see Appendix D). It was concluded that when asked what was the purpose they went to Tai kwun, most had said because of the accessibility of the space. Seeing from people online and hearing from their friends that it was a good destination spot to go with your friends and to take photos. When asked if they were aware of the colonial significance and history surrounding the site, most has said that they had a vague inkling of what the site was but could not provide any further details despite being on the site itself. However there were a few people that were aware of the historical significance and those tended to be from the older generation, Individuals or mostly parents taking their young children to educate them. More than ever it seems clear Tai Kwun is more of tourist destination rather than a place to honour and promote the arts and heritage of Hong Kong.

Fig.28. Tai Kwun Courtyard Photomontage Digital Render (Yim, S. 2021)

Page 38 | Interview Findings

CONCLUSION To conclude, from the ethnographic and auto ethnographic research conducted on the site of Tai Kwun, it seems Tai Kwun has successfully re-written their colonial narrative, perhaps almost to the point of erasure. From my research gathered on site, it did not appear that most people were at Tai Kwun for the art and heritage, but rather for lifestyle enjoyment. Although Hong Kong’s colonial heritage is embedded within every corner of the city, it seems the people of Hong Kong live in a rather blissful negligence of Hong Kong’s post-identity crisis, despite the ongoing political disputes. In a city between cultures, a city where the citizens have virtually no power, how are we able to truly claim our ‘post-colonial’ identity? For the time being, it appears Hong Kong is a long way from achieving a post-colonial identity. Unable to escape from its colonial past, neo-colonial present and impending Chinese governmentality.

Page 39 | Conclusion

FIGURES

Figure 1. Yim, S., 2021. Tai Kwun courtyard Drawing Partial [Pen on Paper].

Figure 2. Yim, S., 2021. Tai Kwun courtyard Drawing [Pen on Paper].

Figure 3. Yim, S., 2021. Police Headquarters Photograph [Photograph], Hong Kong.

Figure 4. Yim, S., 2021. JC Contemporary photograph [Photograph], Hong Kong.

Figure 5. Yim, S., 2021. Hong Kong Colonial & Tai Kwun Timeline [Diagram].

Figure 6. Yim, S., 2021. Colonisation and Post Colonial Identity Collage [Digital Media].

Figure 7. Yim, S., 2021. Hong Kong heritage Museum x Young British Artist Collage [Digital Media].

Figure 8. Yim, S., 2021. Hong Kong Political Art Collage [Digital Media].

Figure 9. Yim, S., 2021. Tai Kwun Map Directory [Photograph], Hong Kong.

Figure 10. Yim, S., 2021. Tai Kwun 3-D Map Drawing [Pen on Paper].

Figure 11. Yim, S., 2021. Footbridge Gate Entrance Photo Montage [Photograph], Hong Kong.

Figure 12. Yim, S., 2021. Tai Kwun Courtyard Photo Montage [Photograph], Hong Kong.

Figure 13. Yim, S., 2021. Tong Lau Drawing [Pen on Paper].

Figure 14. Yim, S., 2021. Hong Kong Skyline Drawing [Pen on Paper].

Figure 15. Yim, S., 2021. Colonial Buildings Remaining in Hong Kong Drawing [Pen on Paper].

Figure 16. Yim, S., 2021. Tai Kwun Lieux de mémoire [Diagram].

Figure 17. Yim, S., 2021. Tai Kwun Phenomenology and Lived Space Collage [Digital Media].

Figure 18. Sit, C., 2014 . Sterling Ruby: VIVIDS [Photograph], Hong Kong, Available at: https://www.artsy.net/article/editorial-on-theheels-of-a-stellar-year [Accessed 10 Jan 2020].

Figure 19. Ben Brown Fine Arts, 2017. Make America Great Again [Photograph], Hong Kong, Available at: https://ocula.com/magazine/ conversations/ben-brown/[Accessed 10 Jan 2020].

Figure 20. Yim, S., 2021. Central HK and Tai Kwun Collage [Digital Media].

Figure 21. Yim, S., 2021. Drawing Depicting Hong Kong Generational Differences [Pen on Paper].

Figure 22. Alys, F., 2020. Wet feet __ dry feet: borders and games [Digital Media] , Available at: https://www.taikwun.hk/en/programme/detail/wet-feet-__-dry-feet-borders-and-games/669[Accessed 09 Jan 2020].

Figure 23. Cheng, H., 2020. 55 Squared [Digital Media] , Available at: https://www.taikwun.hk/en/programme/detail/55-squared/717[Accessed 09 Jan 2020].

Figure 24. Yim, S., 2021. Ethnographic Documentation of People Interacting with Site [Pen on Paper & Digital Media].

Figure 25. Yim, S., 2021. Personal Journey Through Tai Kwun [Online], Adapted by author, Available at: https://arquitecturaviva.com/ works/tai-kwun-centro-de-patrimonio-y-arte-8#lg=1&slide=8 [Accessed 08 Jan 2020].

Page 40 | Figures

FIGURES

Figure 26. Yim, S., 2021. People Posing for Social Media Drawing [Pen on Paper].

Figure 27. Yim, S., 2021. Parent and Child Reading Info-graphic Drawing [Pen on Paper].

Figure 28. Yim, S., 2021. Tai Kwun Courtyard Photomontage Digital Render [Digital Media].

Figure 29. Yim, S., 2021. Appendix A Tai Kwun Field Notes 01 [Pen on Paper].

Figure 30. Yim, S., 2021. Appendix B Tai Kwun Field Notes 02 [Pen on Paper].

Figure 31. Yim, S., 2021. Appendix C Tai Kwun Field Notes 03 [Pen on Paper].

Figure 32. Yim, S., 2021. Interview Age Group Table Data [Diagram].

Page 41 | Figures

BIBLIOGRAPHY

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KAN, F.L.F., 2011. The politics of national history in post-colonial Hong Kong. The Curriculum Journal, 22 (1), 29-42. Available Via: https://www.tandfonline.com/doi/full/10.1080/09585176.2011.550764 [Accessed 30 Nov 2020].

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Page 43 | Bibliography

Appendix A 31/12/2020 Tai Kwun Field Notes 01 - 1st Visit

Fig.29. Tai Kwun Field Notes 01 (Yim, S. 2021)

Page 44 | Appendix A

Appendix B 31/12/2020 Tai Kwun Field Notes 02 - 1st Visit

Fig.30. Tai Kwun Field Notes 02 (Yim, S. 2021)

Page 45 | Appendix B

Appendix C 02/01/2021 Tai Kwun Field Notes 03 - 2nd Visit

Fig.31. Tai Kwun Field Notes 03 (Yim, S. 2021)

Page 46 | Appendix C

Appendix D Interview Conducted & Conclusion In order to better facilitate the research question, an interview was conducted on the site of ‘Tai Kwun’. The aim of this interview was to gain a better understanding of the type of people that frequent the site, as well as to investigate whether visitors were aware of the significant historical and colonial contexts.

To ensure varied and accurate findings, this interview was conducted during multiple visits to the site to ensure the interview was conducted on an accessible population. In order to categorise the data collected each interviewee was asked their age range and the following questions. However, there were no names or photos taken down to ensure anonymity. Qualitative and quantitative data was collected through audio recordings of the interview.

There was a total of 34 participants, with the majority of participants falling into the 16-35 age group. A wide range of participants stemming from various age groups and ethnicities were interviewed in order to avoid bias. Shown below is a table depicting the age group of the participants.

Age Group

-15

16-35

36-55

56-75

76+

Participants

4

18

5

3

4

Fig.32. Interview Age Group Table Data (Yim, S. 2021)

Questions Asked: 1. What is the purpose of your visit to tai Kwun today?

- To learn about the history and culture of the compound - For the art and heritage aspect (visiting the exhibits) - Lifestyle (Visiting restaurants/cafe/bar, retail) - To take Photos (for social media) 2. Where/how did you hear about Tai Kwun?

3. Are you aware of the colonial history of the site? Please elaborate.

Findings: Majority of the participants stated their purpose of visit to Tai Kwun was to visit the bars and restaurants surrounding the courtyard, for the lifestyle/tourist aspect. There were also people that stated they were there to mainly take photos and explore the site. Mainly the -15 and 76+ age group were there to look at the historical significance of the site. Participants had mostly heard about the site from their friends or social media, noting the interesting architecture and the difference in landscape to Hong Kong’s typical skyscrapers. Most of the participants were aware of the history of the site, being a former prison compound. However, when asked to elaborate on the history of the site most could not elaborate further, with a few participants even saying they had not left the bar/courtyard area to explore the rest of the compound. Stating they were mostly there due to the central and convenient location of the compound.

Conclusion: To conclude, although Tai Kwun was very populated during the visits, from the findings of the interview it did not seem that most participants were aware or cared of the significance of the colonial past. Most participants were there for the ‘lifestyle’ of Tai Kwun rather than the historical/art and heritage aspect. It should be noted that due to Covid-19 pandemic none of the art exhibitions were open, therefore participants would not have been able to go to site for this purpose. However, most of the heritage/historical parts of the site were open and most of the participants did not frequent this either. One exception was children with their parents and middle aged individuals exploring the site and taking time to read the historical information available.

Page 47 | Appendix D