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The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

Hong Kong has a global reputation as an entrepreneurial hub. The Japanese restaurant community has grown and evolved over the last three decades into what many consider as a natural secondary market for Japanese food. As such, several Japanese restaurateurs have come to Hong Kong to enter Hong Kong’s premium Japanese restaurant market. The purpose of this paper is to explore this market of Japanese restaurateurship in Hong Kong.

One of the closest methodologies within the topic and discipline from Baldwin (2017) focuses on Japaneseness as a measurement of culinary authenticity examining Hong Kong’s Michelin rated restaurants. Here, the qualitative approach using semi-structured interviews with the chefs of two sets of premium Japanese restaurants from Japan that expanded in Hong Kong, Sushi Iwa and Sushi Yoshitake. As this paper focuses on the premium and high-end market of Japanese chefs and restaurateurs in Hong Kong, the researcher combined the approaches of Kawahara & Speece and Baldwin to pursue a qualitative methodology using semi-structured interviews.

For this research, the interview process had to be divided into two stages. The first was to speak with long standing members of Hong Kong’s Japanese restaurant community. The common thread amongst the restaurateurs was that they were either the sole proprietor or a partner who was financially vested within the company not a form of sweat equity. To respect the privacy of the interviews, questions about exact monetary amounts, number of shares and equity or anything regarding holdings were not asked. The idea was to only examine their responses within the criteria of the research objectives.

As the Michelin and premium market of Japanese cuisine is so small, this research can only represent a certain part of the market. Future research could examine other Japanese restaurateurs outside of this market that could be examined to gain a wider perspective of the entrepreneurial strategies they used to start-up their business in Hong Kong.

As research in this area is very limited, this paper helps bring restaurateurship in Hong Kong into the academic front. Restaurants are one of the most common entry points for new entrepreneurs in hospitality. This paper may help shed some light on how foreign investment entrepreneurship has been achieved in Asia.

The purpose of this paper is to concern the community festival of a Jing minority village in the China–Vietnam border area. Since it was designated as a national-level Intangible Cultural Heritage in 2006, the festival has undergone many changes. The festival has steadily expanded and evolved, assuming characteristics of globalization. How is the globalized character of the Wanwei festival manifested? What are the forces behind the elevation of this local festival onto the register of national events and how did it turn into an event organized by the township?

The paper is based on the results of the author’s research on the culture of Kinh people in Wanwei from 2000 to the present. From the anthropological approach, the author mainly uses method of participant observation and in-depth interviews. The author has observed the Wanwei communal festival from 2000 to the present, interviewing about 40 villagers in Wanwei in depth, they can be leaders, intellectuals, civil servants, officials or working people.

The paper is a case study of the new aspect of globalization of a village festival. The author argues that globalization can lead to a spread of global flows but in this process of globalization, villagers also want to define the local identity, they reinvent the tradition, rewrite history, create new nuances for the gods with many different purposes. Practicing the current Wanwei village festival is a vivid example of globalization from below and the politics of tradition.

The paper adds a theoretical dimension to current globalization research. The paper also points out the political, economic and social dynamics that govern the transformation of a village festival in particular and the village culture in general in the border areas. The paper is a testament to the dynamism and flexibility of villagers when participating in the current globalization process.

This paper aims to provide an initial determination of the date of construction, locations and a typology of design of the pill‐boxes of the Gin Drinker's Line constructed by the colonial Hong Kong Government.

Post‐war aerial photos taken by the Royal Air Force and R.C. Huntings were examined and site visits made to locate and measure the pill‐boxes. Relevant archive materials were consulted to help interpret findings.

A total of 76 pill‐boxes, most in ruins due to post‐war destruction for obtaining their steel bars, were mapped on a 1:25,000 scale to give a good idea of the nature of the Gin Drinker's Line. The study finds that, of these, 50 have survived. The pill‐boxes predated those built in the UK to anticipate of German landing.

The paper demonstrates how aerial photos can be used for historical research and conservation planning. Though the locations of the pill‐boxes identified are subject to detailed site surveying, the basic pattern of pill‐box distribution has been identified.

This is the first attempt to map the Gin Drinker's Line and classify its pill‐boxes. The findings are useful references for the actual conservation of colonial heritage in Hong Kong as part of China, as well as for further inquiry into the military history of the Second World War.

During the coronavirus disease 2019 (COVID-19) pandemic, museums, as public gathering places for citizens, have encountered unprecedented difficulties due to limitations to operate as usual for their traditional exhibitions and curations. Thus, museums made corresponding emergency attempts to accelerate digital resource and service platform constructions. Such difficulties aroused many potential problems with the applicability of electronic resources and the mismatch between user expectations and museum services. This study investigates the challenges faced by Hong Kong museums under COVID-19, emergency responses and deliberate practices of Hong Kong museums from the perspective of both museum staff and visitors, and COVID-19's influence on the roles and functions of Hong Kong museums.

Qualitative interviews with museum staff and visitors were conducted to collect opinions and experiences in the construction and maintenance of museums during the pandemic. Further thematic analyses of museum websites, evaluations, and suggestions were formulated guided by the PEST (Political, Economic, Social, Technological) and AIDA (Attention, Interest, Desire, Action) models.

Findings revealed many online interactions and offline renovations, but the perceptions of visitors and staff differed considerably. While online resources and virtual museums were expanded and well received, long-term prohibitions and repressions drove physical visit desire. Participants emphasized finding a balance between user expectations and realistic practices.

Scant studies focus on the impact of COVID-19 on the cultural industry, especially in East Asia. This study also highlights new practices of digitalization and the challenges of functional transformation. The authors' findings and suggestions provide hints to optimize the curation of information resources and improve museum service quality in the new digital era. This study also serves as a reliable and meaningful record of COVID-19 impacts on Hong Kong museums.

Hong Kong has undergone a rapid transformation from a small fishing village to one of Asia's top commercial cities. With the booming economic development that it has undergone, heritage has been criticised as largely neglected. To respond to this criticism proactively, the local government introduced a “Revitalising Historic Buildings through Partnership Scheme” which is considered an innovative social public‐private partnership initiative. However, it is still early stages and the effectiveness of this scheme is yet to be evaluated. The purpose of this paper is therefore to evaluate the success of this innovative scheme by means of a case study.

The case study approach has been adopted to analyse the effectiveness of this scheme. The Mei Ho House is a Grade I listed building marking the history of early public housing in Hong Kong. This project was studied thoroughly by looking at the historical background, the selected service provider, project details, historical significance, social benefits and public opinion.

The findings indicate that the scheme has been implemented effectively to revitalize historical buildings such as Mei Ho House. Efforts have been made to preserve these buildings into innovative use, uplift local culture and social benefits. In addition, an effective partnership arrangement between the public and private parties has been established.

The analyses will help to assess whether the proposed scheme has been successfully implemented. As a result, the suitability of using this scheme for future projects in Hong Kong or even other jurisdictions will be recommended. The proposed scheme will be an innovative and alternative approach for preserving and restoring historical buildings if proved to be feasible.

This paper aims to summarize the conditions under which participatory art museums and local commercial traditions can have positive and sustained interactions.

The methods include studying the quantity and content of exhibitions in the four cities of the Bay Area, Guangzhou, Shenzhen, Hong Kong and Shunde, to compare their academic positioning and influence on local commercial production. Through interviewing curators, artists and university scholars who are active in the Bay Area and are invited by the museums on a regular basis, it will let us understand the attitudes from the government, public and capital towards the regional art museums and how these attitudes influence the choice of theme in the participatory art museum practice.

To summarize the findings, the author concludes that a participatory art gallery with commercial production in the Bay Area requires the following: a long tradition of local business and wealth accumulation; a local area is of a size where the community of acquaintances can interact on a regular basis; continued interest of a diverse local elite, including a mix of businessmen and gentry, government officials and various sectors of the public; and museums serving as intermediaries to coordinate the effective integration of the commercial and traditional resources.

Participatory approaches and their impacts are a shared area of interest across urban planning, heritage studies and the creative arts. Crucially, solely relying on either the Latin bottom-up community-oriented approach (Barnes, 2003) or the British top-down policy-oriented approach (Heijnen, 2010) did not maximize benefits, though these distinctive two approaches were convinced that museums should play a larger role in becoming agents of contemporary social change. By contrast, in focusing on Chinese Art Museums, this study will explore participatory practice in the Asian context. In doing so, it will not only diversify the emerging literature on the social and economic impacts of arts and heritage organizations but also challenge the Western lens through which participatory approaches are viewed in the interdisciplinary literature. As Lefebvre acknowledged his lack of non-Western regions in his research, this study will offer new perspectives on museology and its contributions to the Production of Space.

This research paper examines the post-military landscape of the Victoria Barracks regarding the high-density urbanism in Hong Kong from the 1970s to the 2000s. The article first interprets the concept of post-military landscape according to the ideology and urbanism of the then Hong Kong society. It then studies three plans of the Victoria Barracks of different stages, showing contestations between domestic, commercial and administrative powers in controlling the military redevelopment. Several contemporary architectural projects on the site will also provide an alternative view of the transformation according to the local economic laissez-faire policy. Its influence to the unsatisfactory heritage protection leads to the disappearance and false representation of the identity of this particular military and cultural heritage.

Index by subjects, compiled by K.G.B. Bakewell covering the following journals: Facilities Volumes 8‐17; Journal of Property Investment & Finance Volumes 8‐17; Property Management Volumes 8‐17; Structural Survey Volumes 8‐17.