People

While the local craftmanship slowly dies out, a lady still refuses to let go of sugar-blowing, which is a part of many's childhood. Chung Choi Wan, 60, is one of the remaining three craftsmen in Hong Kong who knows how to blow sugar-coated figurine, also known as sugar- blown figure, classified as one of the Hong Kong's intangible cultural heritage according to the Hong Kong In- tangible Cultural Heritage Database. Making such figurine requires a high degree of patience and it is easy to fail during the making process. Until now, there isn't any license issued by the government to ensure the right of sugar-blowing hawkers, which becomes one of the potential obstacles for such craftsmanship to exists throughout the century, said Chung. Sugar-coated figurine have over 300 years of history and made of maltose that has been treated with secret formulas. Chung said that she could not reveal the special treatment for maltose as it can only pass on to her apprentice according to traditional rules. Craftsman can change maltose into different shapes by bare hands and using simple tools like toothpicks to carve out the pattern of animal fur. Chung can made maltose into animal shapes such as dolphin and swan. The technique of blowing a large ball shape from a droplet-like maltose is to blow it instantly when the maltose is still hot enough to change its shape. "When the maltose ball is in dumpling size, blow it slowly until it change to the size of an egg", said Chung. "Blowing ball, laughing more" is Chung's slogan, which also written in front of her movable cart. Spread- ing the joy around is why Chung starts to learn this traditional art. The colorful coatings of the figures can easily attract eyeballs. She recalled that once a four-person family …

by Erica Chin and Kobie Li When we talk about circuses, what pops into your head? A large tent with red and yellow stripes? Or clowns who juggle? Although Hong Kong Circus has neither, Chris Leung, the chairman shows his passion for performing arts through fire knife dance. Unlike most of the circus performers, Chris knew nothing about the circus at his early age. "I had never imagined myself to be a performer when I was working as a dresser in the backstage," he said. Chris worked with his wife, Margaret, a dancer of the circus in the theme park. He had no idea to perform on the grand stage before his interest in fire knife dance sparked. The immense interest towards this mysterious and danger art is triggered after Chris watched fire knife dance performance by chance for the first time. "I was amazed by how they control fire, the so-called ‘symbol of danger', so smoothly and easily," he said. Chris then started to practice the dance by using artists' baton during spare and lunch time. Later, he went to Hawaii twice for competition and to learn fire knife dance from a Tahiti fire knife master, Joseph Cadousteau. The road for him to learn was not smooth at the beginning. Chris recalled that it's not easy for him to pick up a new skill at the age of 20. "Many people, even some of my family members said that I am too old for it and it is too dangerous to learn fire knife dance." However, the objection from parents did not discourage him. The scars on his body marked the hard work he paid to practices and the spirit of never give up. Things began to change after years of efforts, circus started to gain popularity. His family members …