The Young Reporter Vol 59 - Subcultures

T he Young R epo rter VOLUME 59 OCTOBER 2023

C U LT U R E Y2K AESTHETICS MAKE A COMEBACK 23 YEARS ON

SPORTS KABADDI BATTLES WITH MISUNDERSTANDING AND PROMOTION D I F F I C U LT I E S

S U B C U L T U R E S COVER STORY THE HEALING POWER OF PASTEL NAGOMI ART

L ET T E R F RO M T HE E D I T O R As the Chief Editor of The Young Reporter, I am thrilled to present our latest issue, which focuses on subcultures in Hong Kong. We wanted to showcase different small or big unique groups of people and their hobbies in Hong Kong, not just focus on trends.

In this issue, you’ll find stories about the arts, including the fascinating Y2K culture, graffiti and pastel Nagomi arts. We also covered different sports like kabaddi and skateboarding and board game culture in Hong Kong.

We hope this issue inspires you to explore the sub-cultures in your community and appreciate the unique and diverse pockets of people around us. Thank you very much for your continuous support, and we warmly welcome any new readers.

Sincerely, Editor-in-chief Aw Yong Ming Min

Reporters Brian Ng Carman Wong Deputy Editors Elif Ayhan Beata Mo Emily Chan Wisha Limbu Eric Jiang James Modesto Art Directors Jeffery Chan Annie Cheung Jemima Badajos Chloe Wong Jerry Li Ji Youn Lee Advisors Joseph Liu Jenny Lam Katy Wong Robin Ewing Kelly Chow Kelly Kong Publisher Marcus Lum Steve Guo Nancy Li Nicole Chu Printer Rebacca Yang Win Fung Renee Tsang Production Limited Sia Rui Siena Cheng Printer Address Tom Shuai Flat G, 13/F., Blk. 3, Golden Vivian Miu Dragon Ind. Ctr., 172-180 Tai Winona Cheung Lin Pai Rd., Kwan Chung, NT Editor-in-chief Aw Yong Ming Min

Editors Adelyn Lau Annie Cheung Anthony Ho Aruzhan Zeinulla Aw Yong Ming Min Beata Mo Charlotte Lam Chloe Cheung Chloe Wong Jacky Poon Joy Gao Julia Zhong Noah Tsang Nola yip Rajnandini Pandey Rex Cheuk Timothy Fung Toby Ng Warren Leung Wisha Limbu Yoyo Lee

hkbu t yr hkbu t yr hkbu t yr The Young Repor ter t yrmagazine@gmail.com t yr.jour.hkbu.edu.hk

CONTENT 4-5 6-9

Y2K aesthetics make a comeback 23 years on The healing power of pastel Nagomi art

10-11 12-14

Graffiti artists risk breaking National Security Law Board games help build post-pandemic friendship

15-16 17-21

Kadaddi battles with misunderstanding and promotion difficulties Skateboarding rolls to new heights

PRINTED ISSUES

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Y2K AESTHETICS MAKE A COMEBACK 23 YEARS ON Reported by Junzhe Jiang and Siena Cheng Edited by Julia Zhong

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n the year 1999, humanity’s love affair with technology was still fresh, but many feared a Y2K bug would destroy the world.

From that hope and fear emerged a style dubbed Y2K aesthetics that can best be described as a mix of futurism, grunge and cyberpunk.

In the 1990s, the fashion styles showcased by Britney Spears, the Spice Girls and characters in the movie. The Matrix is a typical Y2K style: metallic jackets, iridescent tops, and low-rise jeans.

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In the early 2000s,Y2K was more about such as cargo pants, military-style jackets, and chunky boots. Nowadays, Y2K fashionistas tend to do crop-Ts, plastic flares and metallic colours.

“Y2K now is a mix of original Y2K, Neo-Y2K, and the Harajuku style,” said Du Yuxiao, a student fascinated with the style.

Du first got interested in Y2K culture in high school because of a rock music video. Nowadays, her favourite items include bulky plastic pants and a lot of metal accessories.

“The information on social media about feminism and political issues annoys me, and I want to escape through Y2K culture,” said Wong.

A 2019 research by U.S. advertising agency Hill Holiday says 48% of Gen Z found that social media makes them depressed, and 58% of them “seek relief ” from its influence.

Jin’s accessories store is in Tung Chun Commercial Centre, where there are many similar stores.

“To be honest, I cannot empathise with the people in the 1990s because I didn’t have the same experience,” said Du. “However, I love how they can express themselves freely regardless of mainstream opinion. Plus, the clothes suit my taste.”

She said the current version of Y2K includes more elements like bright colours, loose socks, and gothic accessories because of the rise of social tolerance.

“Dressing Y2K style can make me feel that I am the most special in the world because I always feel that I am ordinary in life,” said Du. Irene Jin, 21, owns a Y2K store in Mong Kok. It all started four years ago through a local forum called Y2K culture exchange on social media.

“I made some friends with the people in that Y2K forum, and I learned the culture from them,” said Jin. She designs Y2K accessories, clothes and bags when in a bad mood. It’s an outlet for expression.

“When I create, I imagine that I am the work itself, and then I feel their emotions,” said Jin. Her designs usually involve a mix and match of accessories she acquires online.

Jin’s accessories store is in Tung Chun Commercial Centre, where there are many similar stores.

Her store, which mainly sells hand made hats and jewellery, is popular

with Y2K fans.

The store’s Instagram account has nearly 700 followers.

Jin said that although there is a revival of Y2K, most people still follow the original style from the early 2000s, which includes thigh-high socks and platform shoes.

“Actually, people can add any to their Y2K outfits,” she added.

For some, Y2K culture is also about sharing their anxieties about the future and technology.

Uni Wong, 22, a gallery designer, considers Y2K culture as a kind of utopia and identifies as a “mental Y2K”.

That means they not only pursue aesthetic individuality but also emphasise spiritual independence.

In high school, she got into Y2K culture through watching rock music videos on social media.

She then started a WhatsApp group to share her worries and sorrows with friends.

She expressed this through her photos about gluttony and greed,

Wong said Y2K culture means she can express anything she wants without judgment from others and find a place to escape from a patriarchal society and constantly changing technologies.

She posts her thoughts and poems on social media with her friends to try to adopt Y2K cultural identity and create a “safe space” where like-minded individuals can express themselves.

“I want to create an era of idealisation through nostalgia, to resist modern people’s evolution,” Wong said.

Some Gen-Zers use different ways to pass on the spirit of Y2K culture.

Violet Lee, 21, a Hong Kong Baptist University student, created Y2K music with her friends to express their feelings.

“Y2K music is close to rock music, but we use a retro way with Y2K style demos by adding electronic and organic elements such as Hammond organ and drum beats to create the songs,” said Lee. Lee and her friends use the lyrics to express their worries, fears and uncertainties about social issues.

They made music called “She is Everybody”, depicting women’s social pressure and struggles and encouraging them to have strength and hope.

“I want people to recognise that Y2K comes in many forms, each with unique strengths,” said Lee.

“In a broader sense, Y2K represents a significant, potentially disruptive, transitional moment in time.” - Uni Wong

FA S H I O N

hoping to raise people’s awareness of human weaknesses.

THE HEALING POWER OF PASTEL NAGOMI ART Reported by Winona Cheung and Renee Tsang Edited by Toby Ng and Adelyn Lau

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few artists gathered in a cosy studio filled with soft light and pastel colours. Each was given a set of delicate pastel sticks and a piece of plain paper.

With a deep breath, Trista Li Cho-kiu, a 21-year-old college student majoring in early childhood education, started picking out her favourite colours: light blue, green, and white, then shaved the pastel powder pigment using the cutter.

She gently smudged and blended them with her fingertips, creating a dreamy sky with a few adorable fluffy sheep rolling on a peaceful grassland.

“The tranquil time in pastel Nagomi Art soothes my soul,” she said.

Pastel Nagomi Art, founded by Hosoya Norikatsu, who established the Japan Pastel Hope Art Association (JPHAA), is a self-healing art capable of unwinding one’s emotions.

“Nagomi” carries the meaning of “harmony” in Japanese.

Here in Hong Kong, pastel Nagomi Art has drawn city-dwellers to experience a piece of serenity away from the hustle and bustle.

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Studios have set up social media pages and collaborated with schools, universities, and community centres to promote this art form.

To start, all you need is a square piece of drawing paper, a box of dry pastels, and a cutter.

Then, use the cutter to grate the pastel into powder and blend the colours with your fingertips on the paper to create stunning patterns.

There are no guidelines, and artists are free to create whatever they want.

Regardless of their age and level of expertise, anyone can sketch aesthetic masterpieces.

Li joined a pastel Nagomi Art workshop three years ago and was quickly impressed by the relaxing ambience and beautiful artwork.

As a Christian, this art form is part of her weekly spiritual practice.

“Spiritual discipline helps rearrange my life through thinking quietly and deepens my connection with the inner soul.

After reading the Bible, I would draw

Themes of Pastel Nagomi Art range from seasons, festivals, and sceneries, to emotions, nature, and inspirations.

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a piece of pastel art based on my rumination in God’s word,” she said.

A R T

Her instructor, Freda Liu Sze-ting, the founder of Tingology Art Studio, said pastel Nagomi Art encourages participants to comfort their spirit, restore their hope and vitality, embrace their feelings, and release stress in the creation process.

Participants can express their inner emotions by using different colours.

“Unlike traditional pastel art, pastel Nagomi Art incorporates finger painting, allowing participants to directly interact with their artwork through physical sensations and movements, which enhances the degree of engagement,” she said.

The 27-year-old said that guiding participants to think about how they perceive colours and messages conveyed in their artwork can invoke self-reflection and develop self-awareness.

“Sometimes participants would shed tears when they talk about their artwork as they share their authentic inner selves with each other,” Liu said.

Liu recalled how a pregnant woman once shared her work that expressed a dilemma between her anxiety and the anticipation of the child’s arrival.

She burst into tears.

Other mothers in the group then cheered her up by sharing their own pregnancy experiences.

“A more magnificent picture than

Trista Li sometimes draws pictures for her beloved family and friends to cheer them up.

what has been portrayed is the love and support shared by the mothers,” she said.

Pastel Nagomi is a form of art therapy that helps patients interpret, express, and resolve their thoughts and emotions.

Kong Hoi-yi, a 38-year-old freelancer, suffers from depression because of her work during the pandemic.

She experienced insomnia and some times stayed awake the entire night.

After seeking medical help, she quit her job last year and attended Nagomi art classes.

“One time, I felt lost and confused after consulting a doctor. So I drew a pastel and named it “Myth”.

Studios set out different price levels for Pastel Nagomi Art courses, ranging from HK$100 trial lessons to HK$5,000 JPHAA-certified courses.

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world by scraping the pigment, leading them to a state of decentering,” she said.

“For example, some highly sensitive children were terrified of getting dirty.In class, we can teach and remind them that they can clean their hands after using their fingers to draw, encouraging them to step out of their comfort zones,” Chan said.

Freda Liu shares how drawing can heal her grief after one of her family member passed away.

There is a well with lots of sparkles. It represents me, in the well and could not find a way out despite the hopes and opportunities,” Kong said.

The art experience offered her relief.

“Sometimes I can tear the paper to create more layers, which I find very satisfying and comfortable,” she said.

Chan added that since pastel Nagomi is easy to pick up, it allows anyone of any age without an art background to design rewarding and stunning pictures, and so enabling more patients to participate in regular therapy.

A study at Hong Kong Polytechnic University looked at the correlation between Nagomi art therapy and mental well-being during the pandemic by conducting eight-week workshops for 11 undergraduate students.

Researchers found participants had a significant decline in “negative affect”, the experience of negative emotions

Kathleen Chan Kit-yin demonstrates how stressing works to cultivate sensory experiences in Pastel Nagomi Art.

With the help of pastel Nagomi and medical treatment, Kong has been sleeping better. She continues to draw every week to express herself.

Kathleen Chan Kit-yin, a registered expressive arts therapist, said pastel Nagomi provides strong sight and touch sensory experiences.

“Expressive art therapy amplifies the sensory experience. Some patients find themselves immersed in their inner

such as sadness and anger. The participants said the creation process made them feel at ease because it gave them time to unwind and manage their stress.

By concentrating on drawing, participants have a chance to tune out from the tensions in daily life, strengthen their focus, and experience a sense of confidence and fulfilment when viewing and sharing their masterpieces.

Pastel Nagomi Art gave them a new relaxation skill and a tool to destress and enhance their understanding of themselves.

Tsang Ming-yam, an advanced instructor in Autotelic Art for pastel NagomiArt, said such an art form helps participants achieve “flow,” a state of mind that one is fully engaged in the present by concentrating.

“It emphasises the process instead of judging whether the work is excellent. Students can learn to accept their imperfections,” he said.

G R A F F I T I

GRAFFITI ARTISTS RISK BREAKING NATIONAL SECURITY LAW A large mural near the Glory fast food restaurant. Yellow is widely used

Reported by Nicole Chu and Tom Shuai Edited by Beata Mo

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graffiti image of three figures wearing yellow helmets has been outside Glorious Fast Food restaurant at Sheung Wan since 1998. It’s the work of a visiting French graffiti artist, Catherine Grossrieder.

The tiny eatery on Ladder Street belongs to Cheng’s family.

“She said the outside of our restaurant was too plain, so she wanted to draw something on the sliding door and the wall,” Cheng said.

“There happened to be a group of construction workers sitting on the steps and eating, which inspired her,” she explained.

But in 2019, the yellow helmet became a symbol of protest. The Home Af fairs Department received a bunch of complaints about the artwork.

So last month, the Chengs painted over the graffiti.

“The office warned us that there was a risk that the images could be perceived as violating the National Security Law,” said Cheng. “But they didn’t specify which articles might be breached.”

Graffiti art is common on the streets of Hong Kong. But the Summary Offences Ordinance doesn’t allow writing upon, soiling, defacing or marking any building without the owner’s consent.

The calligraphy graffiti from the late Tsang Tsou-choi, advertising “the king of plumbers” can still be spotted in many places, ranging from lamposts, utility boxes, pavements, building walls to occasionally cars.

“Graffiti is a good way to express

The wall outside Glorious Fast Food Restaurant in Sheung Wan as shown on their Facebook account on November 14, 2016.

emotions tions and appeal because it is anonymous,” said Mr Wee, a Hong Kong graffiti artist who has more than 6000 followers on Instagram.

“Some graffiti is written with expectation that it will be scrubbed,” said Wee. The Central and Western District Office under the Home Affairs Department has removed about 150 graffiti, especially those with explicit political slogans, since the social movement in Hong Kong three years ago.

“We can use fewer and fewer words and images, and more and moreworks are scrubbed out,” said Wee. “It’s a pity for our society and culture that governments and people become more and more sensitive to certain art.”

The wall outside Glorious Fast Food Restaurant in Sheung Wan as shown on on November 14, 2016.

low is widely used in murals at Sheung Wan.

Graffiti from “the king of plumber” has been painted down since 50 years ago, and is still commonly seen today.

“We don’t know where the redline is, but what we know is art is not a crime, ”Wee said.

James Chou, a regular of Glorious Fast Food restaurant, said one day he suddenly found that the graffiti on the outside of the wall had been painted over.

displayed on urban streets has unique public attributes.

“If you just paint on paper and hang it at home, no one will care what you paint, but if you use the wall in a public area as your canvas, you have to consider the feelings of all viewers,” Sun added.

“Only after asking the waitress did I find out what was going on. I had never associated that graffiti with the incitement of Hong Kong independence,” the 31-year-old added.

“It is understandable that graffiti that suggests pornography and violence is erased, so why can’t graffiti that is provocative be erased especially in this sensitive period after the protest in 2019? ” she asked.

James said he can understand that obvious reactionary remarks or graffiti should be banned, but graffiti that is more about artistic creation with less obvious metaphors should not be cancelled after random speculation.

How to determine if a piece of graffiti may be politically sensitive and needs to be removed is still unclear. The Home Affairs Department did not respond directly to The Young Reporter’s question on this.

Ella Sun, 24, a graffiti lover, said graffiti

According

Wan as shown on their Facebook account

to

a

non-profit

Graffiti has integrated into the city lives in Hong Kong.

arts

organisation HKwalls, in all their graffiti cases, they need to have the artist and the design of the artwork approved by the government in advance.

“For example, we made proposals to the Leisure and Cultural Services Department and have painted a wall in one of their parks in Wong Chuk Hang and another in Sai Kung,” said Jason Dembski, a Co-Founder of HK walls, a non-profit arts organisation.

“There are no areas where anyone can paint anytime for the public,” Dembski said.

“We understand all organisations have to curate and work within the law, but I want to hear the government’s point of view as to what the perimeters are,” said Maria Wong, the managing director of HK walls.

The set

B O A R D

G A M E S

Players at 808 Games place their tokens on a “ROOT” board.

BOARD GAMES HELP BUILD POST-PANDEMIC FRIENDSHIPS Reported by Ji Youn Lee and Carmen Wong Edited by Aruzhan Zeinulla

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ecret Hitler, Arkham Horror, Terraforming Mars, —just some of the board games in the bright paper boxes at 808 Games.

In one corner of the café, four drunk patrons squabbled over tokens the size of their fingernails.

In another corner, three women were engrossed in their first session of ROOT, a strategy game about animals trying to rule the forest.

The players are strangers to each other, but they have played together online every week for a month.

A player who goes by Ms X_X on the social media platform X, held a paper pamphlet twice the size of her hand while she mulled over the colourful tokens.

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Her two fellow players pored over the rules book like a treasure map.

Chris Lo, the owner of 808 Games and a veteran of the board game industry for over 11 years, approached them for assistance.

“Has my turn ended?” X_X asked.

“Not yet. You still have to do a night action,” Lo replied.

This is a typical afternoon at 808 Games.

A board game café in Mong Kok which rents out games to its customers for an hourly fee. It has an assortment of games ranging from UNO to Cthulhu: Death May Die, a lengthy campaign board game which includes a 60cm plastic statue of Cthulhu, a mythical creature in the Lovecraft horror.

Chris Lo favourite

The cluttered café has been in operation since 2010, making it the oldest board game café in Hong Kong.

Since then, other cafés such as Wheat and Wood, a casual café centered around socializing, or Jolly Thinkers, which has its own Board Game educator programme, have opened in Hong Kong There are now more than ten board game cafés in the city.

Since 2010, 808 Games has gone through two owners, one renovation and a pandemic.

Lo, 32, says COVID-19 has been a turning point for 808’s atmosphere.

“I definitely think there is a change in what people buy,” he said. “The regular customers are still there, but I also see a lot of new people.”

The setting for Cthulhu: Death May Die is placed on the table.

808’s online sales went up during the pandemic. But Lo was glad when the social distancing measures ended and in-store business flourished again.

“I think we’re just fed up with meeting online,” he said. “I know that there are online games out there that can simulate playing board games, but nothing can beat the feeling of meeting face to face”.

Chris Lo, the owner of 808 Games, showing his favourite board game, The Great Western Trail.

Hong Kong had some of the toughest COVID-19 restrictions in the world.

The first social-distancing measure went into effect in 2020, prohibiting gatherings of more than four people in public spaces. Government reported that entertainment and media revenue had the biggest year-on-year drop.

After the social distancing measures ended in September 2022, normal life gradually resumed.

Statista forecasts a 4.56% increase in the toys and games market revenue for 2023, which includes board game retail, musical instruments and sports goods.

The Hong Kong Game Theory Society, the board game association at Hong Kong Baptist University, had trouble operating during lockdown.

They used online platforms such as Discord and Tabletop Simulator to facilitate virtual game nights. Members were able to maintain connections and enjoy their favourite games online, but there were setbacks.

Members of the HKBU Game Theory Society play a social board game.

“Besides the virtual problems, teaching new board game players became more challenging as physical demos and tutorials were seriously affected. We could use the instruction or tutorial videos on YouTube to do some online teaching and video guides to help newcomers,” Qiu Sze Yi, 19, head of the Hong Kong Game Theory Society said.

But since offline playing returned, the community has grown to a total of 370 members, welcoming 60 new board game enthusiasts.

There is also a scientific reason why offline board games have been revived.

The Chinese Journal of Communication states Board games and their social possibilities may be proven through the socially oriented concept of immersion, an anthropological term which describes that broad social dynamics can create experiences of being together in small-level games such as board games.

According to the journal, each player of a board game is an important part of the gaming experience, creating a sense

of cohesion that can build strong social ties.

Lee In-hye, 50, is a board game fan and counselling psychologist for the Korean Ministry of National Defence in Seoul.

She said board games have both entertainment and psychological appeal. They give players an experience that cannot be reenacted through online gaming or Zoom calls.

“Games require you to get to know your opponent and read their moves in a short amount of time,” she explained. “This leads to a very focused, empathetic, and unified immersion with your opponent, which is something you don’t normally get to do.”

According to Lee, board games are one of the most effective tools for socialization because of their inclusive nature.

“It’s one of the least restrictive mediums in terms of location, audience, time, and age. They’re also easy for even the most introverted people to pick up,” she said.

Shelves of 808 Game are stocked with all sorts of social board games.

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K A B A D D I Players training at Hong Kong Kabaddi Training Academy.

KABADDI BATTLES WITH MISUNDERSTANDING AND PROMOTION DIFFICULTIES Reported by Marcus Lum Edited by Anthony Ho

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etermined, Cheng Tsz-lam, 26, shouted “kabaddi” and charged, dodging defenders with lightning quickness.

As she tags an opponent and retreats triumphantly, hearts start to race.

The intense competition fuels the captivating spectacle, which astounds the others.

Kabaddi is a team sport that originated in South Asian regions, like India, Pakistan and Bangladesh. It is similar to the folk game “Eagle Catches Chicken”. It was originally introduced in Hong Kong in 2014.

The sport was introduced to Hong Kong by Tang Wai-man, the associate professor of Chinese University of Hong Kong, to promote South Asia culture.

There were 12 players on each team, 7 of whom started, and 5 of whom were substitutes.

To begin an attack, the first attacking team sends a player to continuously chant “Kabaddi” and

try to touch a defensive player.

organised practice and competition.

The touched player will be penalised if an offensive player touches a defensive player and makes it back to his own half successfully.

When she first started her own business, she admitted that she faced a lot of obstacles.

Cheng, an experienced kabaddi player, decided to establish a Hong Kong Kabaddi training academy to help promote the sport.

Cheng started the training academy in 2022. The founder said she wanted to open the training academy because it saved time and made organising events more convenient.

“If I were to organise any events under the two NGOs, I would need to go through a lot of procedures and paperworks which made things complicated, that is why I opened this training academy, ” Cheng said.

Other than Cheng’s training academy, two non-governmental organisations, Kabaddi United Hong Kong aiming to promote cultural diversity, and Hong Kong Kabaddi Sport Union which

“When I first started, the recognition was low, people knew little about the sport and I had to put a lot of effort and time in contacting different people like coaches or school teachers,” said Cheng, adding that she had to make a balance between her hobby and her work.

Yet she never gave up and held various activities successfully, like Kabaddi Fun Day and training sessions and overseas exchanges to attract newcomers.

Chow Hei-tung, 20, was one of the newcomers that Cheng had successfully recruited. She had been playing this sport for almost a year.

She chose to play kabaddi as she wanted “a different path” than the others.

“People may keep their eye on athletes playing popular sports like fencing champion Cheung Ka-long, but I just

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want to try the newly-emerged sports, to achieve some results in the major competition,” Chow said.

However, she admitted for once she wanted to give up on this sport.

“Because I haven’t played in any sport for quite a while, so physically I felt like I cannot play well in the sport,” She said.

She also said seeing many people quit after their first training lesson was one of the reasons she wanted to quit the sport.However, the team spirit and the veterans’ persistence motivated her to keep on playing.

“I saw those who had much more experience than me kept on playing and I really wanted to play along with them until we achieve a good result for Hong Kong,” Chow said.

Cheng also tried to promote Kabaddi to primary and secondary schools by, working with the Leisure and Cultural Service Department to give free kabaddi lessons to students.

However, Cheng said most teachers are hesitating to play the sport during physical education lessons because it involves more people and more body contact compared to other newly emerged sports.

“For instance, kinball requires 12 students to form three teams to play at maximum, but Kabaddi needs 12 people to form just one team to play, so it might be difficult to play in school’s classes where there are only around 20 people,” Cheng explained.

“Moreover, it is a competitive sport that involves a lot of physical contact, and schools thought it is dangerous to play,” she continued.

Chow training with other kabaddi players in Japan.

Wong Wai-chuen, 28, coach of the Hong Kong women’s Kabaddi team, thinks that the fear of the danger of kabaddi was based on the lack of knowledge of the sport.

The coach had been playing kabaddi when he was studying at a university in Taiwan.

He said the risk of getting injured from playing kabaddi is the same as other competitive sports.

“Throughout my career, I never suffered from a major injury, I just sprained my ankles and got some bruises,” Wong said.

“But we have to think it the other way, we may also sprain our ankles when we play badminton or basketball or even

playing rugby,” he added.

Despite the sport being introduced in 2014, much earlier than the other newly-emerged sports like ice-hockey, dodgeball or 3x3 basketball, it has had seldom made it to the spotlight. In 2019, theHong Kong teams secured a win against Norway in Kabaddi World Cup in Malaysia.

Wong suggested that to increase the exposure of the sport, the best way was to organise more competition, especially with the South Asians.

“Actually, many South Asians know how to play kabaddi, and it’s a great way to learn South Asian culture and for me personally, kabaddi has corrected many misunderstandings and stereotypes of the ethnic minority,” Wong said.

Knowing the schools’ concern, Cheng said they now emphasise the correct posture of moves while playing kabaddi to avoid injury or hurting others when they are teaching.

Hong Kong women’s Kabaddi team, thinks that the fear of the danger of kabaddi was based on the lack of know ledge of the sport.

The coach had been playing kabaddi when he was studying at a university in Taiwan. He said the risk of getting injured from playing kabaddi is the same as other competitive sports.

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A coach of Hong Kong Kabaddi Training Academy encourages students of Salesians of Don Bosco Ng Siu Mui Secondary School.

SKATEBOARDING ROLLS TO NEW HEIGHTS Reported by James Modesto Edited by Annie Cheung

Opening in 1999, 8Five2 skate shop sells their own branding goods and household names products in the skateboarding community.

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ric Ng Siu-chung, 27, is a part-time skateboarding instructor. He has seen increasing demand for lessons over the past four years.

From being a niche and stereotypically rebellious hobby to a contemporary sport, skateboarding has gained immense popularity in recent years since its introduction to the city in the 1970s.

This year, Hong Kong’s skateboarding team competed at the Asian Games for the second time since the sport was added to the games in 2018.

In response to the surge in popularity, the government is opening up new facilities for skateboarding.

In his last budget speech, Financial Secretary Paul Chan Mo-po highlighted the importance of promoting popular urban sports, such as skateboarding, for youth development.

The government is considering converting “underutilised floors” at

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the Kwun Chung Municipal Services Building in Jordan for urban sports.

Fung Chuen-chung is the Deputy District Leisure Manager for Yau Tsim Mong District with the Leisure and Cultural Services Department (LCSD).

He said they are working closely with the Architectural Services Department and skatepark designers with the target of completing the conversion by 2025.

To date, Hong Kong has 13 skateboarding facilities managed by the LCSD. That has come a long way since the sport started in Hong Kong almost four decades ago.

Warren Stuart, 54, is dubbed “the godfather” of Hong Kong skateboarding for his experience and contributions in elevating the local skate scene.

He is among the top advisors for the sport’s development in the city and is the head coach for the Hong Kong national skateboarding team.

He said that one reason why skateboarding has soared to new heights was its inclusion in the 2020 Olympic Games.

It was shortlisted along with breakdancing, sport climbing and surfing in order to make the Olympics “more gender balanced and more urban,” and to “offer the opportunity to connect with the younger generation,” according to the International Olympic Committee.

“When people realised that skateboarding became a legitimised sport, the opportunity to create future world champions and prospects became apparent,” Stuart said.

“This high level of exposure has broadened skateboarding’s reach towards many people.”

He recalls when the roller sport was almost “non-existent” in Hong Kong.

The local skate scene during Stuart’s time was shrouded with negativity brought by a lack of

understanding, and stereotypes, such as skateboarding being associated with violence.

“Even if we were skating by ourselves in our own space, we would still be heckled by some old folks,” Stuart said.

“Nonetheless, we had to cope with it just to fulfil our passion for skating.”

The lack of skateboarding facilities then also meant that street skating was the norm.

The area surrounding Immigration Tower in Wan Chai, for example, was aptly nicknamed the “IT place.” It used to be a skateboarding hotspot because of the many benches, stairs, ledges and rails.

“We would find areas where there

were lots of rails and ledges so we could practise grinds and slides,” Stuart said. “These places would eventually be where we would gather and hang out.”

Before the turn of the century, the anti-establishment nature and imagery linked to skateboarding attracted more individuals to try it out.

By the early-90s, there were crews scattered throughout Hong Kong, according to Stuart.

“Even though we came from a certain area or district, we all were connected through our love for skateboarding,” he said.

Carlos Choi, 50, a local skateboarding frontrunner, who skated with Stuart

in the 80s. He always had the latest tricks, often showing them off to others at skate hangouts.

Growing up in an era where street skating was king, he was surprised to see how much has changed in the skateboarding community after taking a break in the early 90s.

Over the past 20 years, brands such as HMV and Vans have been actively promoting skateboarding.

Newcomers to the sport have then been able to learn transition, a style involving skating from vertical ramps, half-pipes and in bowls, according to Choi.

“The tricks some of us used to do became more complex and technical,” he said. “Teenagers began to do crazy

Eric Ng guides his student to skate over a slope.

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S K AT E B O A R D I N G

“Even if my students fail to do a trick, it’s good to see them committing to do something new.”

- Eric Ng

Warren Stuart teaches a group of beginner skateboarders at Tseung Kwan O.

Lai Chi Kok skatepark is Hong Kong’s only skatepark certified by Street League Skateboarding

Performing a transition, Warren Stuart cruises on his signature board over a skateboard

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didn’t consider skateboarding a sport back then.

They thought it was reckless and rowdy.”

- Warren Stuart stunts that I’ve never seen.”

When Choi started skateboarding, wider boards were popular. But nowadays, most boards are thinner because they are easier to manoeuvre and to perform tricks and flips.

With a growing community by the end of the 90s, local skaters began to demand for modern skateparks.

“Morrison Hill was the first skatepark, but it was getting outdated at that time,” said Choi. “It was clear then that we needed something more advanced.”

Morrison Hill skateboarding ground was opened in the late-80s after Stuart and a few others petitioned for the government to build a proper skateboarding venue.

Compared to modern skate facilities, like Lai Chi Kok skatepark, the ground at Morrison Hill is almost flat, save a few slopes. There are no ledges and ramps that skaters then wanted in order to expand their skills set.

In 2004, the government opened the city’s first public skatepark, located in the heart of Lai Chi Kok park in Mei Foo. It was then revamped in 2019.

The area was rebuilt from the ground up to accommodate a variety of elements that encapsulate the essence of street skating, such as stairs, ledges, rails and a bowl for transitioning.

It is also the only skatepark in Hong Kong certified by Street League Skateboarding, a global league for skateboarding events and competitions.

It marked the venue as an “international standard skate plaza” suitable for local and international tournaments, such as the Hong Kong Youth Street Skateboarding Open last September.

Managed by the Leisure and Cultural Services Department, the 1,600 hectare Lai Chi Kok skatepark also serves as a training ground for local and international athletes.

While Stuart understands that skateboarding is meant to represent freedom and creativity by making use of the surrounding environment, safety should also be prioritised as more children are taking a liking to the sport, adding that the culture is constantly evolving.

“Skateboarding can be different in five to ten years. The decks can change shapes or sizes.There could be a new style that local skaters might create or

pick up from the West,” said Stuart.

“But it will always be about pushing boundaries, finding your rhythm and making new friends along the way.”

Ng said that the increased exposure of skateboarding in the city can help maintain its relevance as a standardised sport and passion hobby.

“Skateboarding will prosper if the government continues to develop it as a systemised sport,” said Ng. “Building more skateparks and funding local skateboarding organisations can be great ways to support the sport’s growth.”

Before the 2000s, there were only a handful of shops selling skateboarding goods, like 8Five2 and BFD Skates.

After the turn of the century, more skate shops, mainly local establishments, popped up, such as Skatecityshop in 2008, Victoria in 2015 and Gahyao in 2018.

But Choi said that commercialisation of skateboarding from businesses and the saturation of the local skateboard coaching industry now may leadthose heavily involved to wonder: “Is this sustainable? Can we make a living out of it in the long run?”

S K AT E B O A R D I N G

“ The majority of Hong Kongers

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The Young Reporter

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The Young Repor ter

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