《南丫南，十二島民如是說》 目錄 南丫島民如是說…… P.

Lamma Mia
Oral Histories of

South Lamma: Contents Lamma Islanders...

Oral Histories of 12 Islanders 我來自鄉村

Villagers
P.6

周玉堂
Chow Yuk-tong
威嬸
Auntie Wai
陳浩然
Chan Ho-yin
陳子健
Jackie Chan

水面人 P.26
Water People

P.3
鄭火帶
Cheng For-tai
梁錦全
Leung Kam-chuen

Michael

本灣人 P.42
Bay People
賴小姐
Ms Lai
談錦添
Tam Kam-tim
子揚
Tsz Yeung

外來人 P.58
Incomers
Simon

Contents
David
 南丫島民如是說……
南丫說 : Tourists visiting Lamma Island may have all Over the past six months, we visited South

Lamma Mia
sorts of imaginations and expectations about Lamma frequently, landing on either Mo

Oral Histories of Lamma Islanders...

the southern part of the island, be it the colour
of the sky and the sea, the serene mountain
trail, the grotesque rocks, or the delicious
seafood. However, these are just superficial
observations. To explore a place deeply, we
訪談員／文字整理：王惠玲、陳芷琳 should learn more about its ‘memoryscape’
Researchers/Authors: Wong Wai-ling, Teresa Chan by listening to how the people living there
remember the place. From their narratives,
繪圖：陳芷琳 we, as tourists, will learn more concretely the
Illustration: Teresa Chan human aspect of the island.
From February to August 2021, we interviewed
島外遊人對南丫南段這個地方可能有 己的南丫島故事，讓讀者從個人故事體會 quite a few residents of South Lamma. Among
各種想像和期望，無論是嚮往這裡海 社 區 裡 共 同 和 差 異 並 存 ， 所 謂「 社 區 」， these male and female islanders of different
天的蔚藍、山徑的清幽、石景的奇特 正是接納多元的生活空間；陳芷琳繪畫的 ages, there are indigenous and non-indigenous
Tat Wan or Sok Kwu Wan. Very often, we
would bump into familiar faces along the
street or mountain trail, in the villages,
on the ferry, or by the field. Even though
we wore face masks under the COVID-19
pandemic, we still recognised one another
through eye contact or from our hairstyles
and clothing. Knowing or not knowing
our names, people still greeted us warmly.
Those who joined our interviews would
say foreright, “Feel free to WhatsApp
me if needed!” Sometimes when we met
them on the ferry, we immediately sought
their advice and comments on things we
were not sure about. The journey would

P.5
抑或海鮮的美味，都是表層的景觀。 人物圖像維肖維妙，使我們更能感受主人 residents, as well as people from rural villages. instantly turn into a tutorial class. These
一個地方的故事，更在乎在這地方生 翁的生活動感。 Some live in the ‘downtown’ of South Lamma, scenes made us sincerely appreciate the
活的人們，透過互動所產生的情感和 Sok Kwu Wan, while others reside in the solid human touch on the island.
所賦予的意義，作為遊人，可透過分 這半年來我們經常出入南丫南段，有時在 outskirts. These islanders from different
享這些情感和意義更深入地了解這地 模達灣上岸，有時在索罟灣上岸，不時在 backgrounds shared their memories of this We are grateful to all the islanders who
方的人文景觀。 路上、街上、船上、村裡、田邊，碰上熟 place, personal and family anecdotes, and the participated in the interviews. Their
識的面孔。雖然疫情下大家都戴上口罩， changes in the way of living and community frankness and generosity have helped
我們在2021年2月至8月間訪問了多位島 卻能憑眼神、髮型和衣著相認，見慣見熟 landscape. Based on their stories and other us understand the histories, lifestyles,
上 居 民，有 男 有 女 ， 有 老 中 青 三 代 ， 了，即使未曾交換姓名的，也會打起招呼來； references, we share our observations of the and communities of South Lamma. Our
有原居民、從外邊遷入的，從鄉村來 結 識 了 的 、 訪 談 過 的 ， 都 豪 爽 地 說 ：「 有 community landscape and the livelihoods on heartfelt thanks go to the 12 people who
的 ， 住 在 索 罟 灣「 市 中 心 」的 ， 以 及 需要咪WhatsApp我囉！」有時難得在船上 the island in this book. Besides, Teresa Chan shared their oral histories with us. Without
仍在村落生活的，各種不同背景的南 碰見，我們立即把不明白的事情向他們發 visualised these memories in her illustrations them, we would never be able to share with
丫島人，分享了他們對這地方的記 問、請教，這程船便變成一堂導修課。種 The Everyday Life in Sok Kwu Wan and Fishing the city dwellers their hardships and joys

Oral Histories of Lamma Islanders...

憶、個人和家庭的成長、生活方式以至 種情景讓我們深刻體會島上濃濃的人情味。 on Stationery Lift Net. In this booklet, titled on the island, their feelings towards the
社區的變化。我們整理了這些訪談內 South Lamma: Oral Histories of 12 Islanders, community, and the meanings they have
容，並參考了其他圖文資料，在《南丫 感謝參與過深入訪談的南丫島民，他們慷 there are 12 personal accounts about the infused into Lamma.
說：》主體書內敘述了索罟灣的社區 慨的分享，讓我們理解到南丫南段的地方 island. Through their unique experiences,
南丫島民如是說……

景貌、「靠山食山、靠水食水」的生活 歷史、生活方式和島上的人脈情理。感謝 readers will see how diverse lifestyles coexist

方式等，陳芷琳還將島民的記憶繪畫 十二位口述歷史主人翁，允許我們刊出他 peacefully in the same living space — the
成〈索罟灣日常生活圖〉和〈罾棚拗魚 們的個人故事，讓更多城市人分享到在島 genuine meaning of what a ‘community’
圖〉。 我 們 在 這 本 《 南 丫 南 ， 十二島 民 上生活的艱苦和樂趣，以及島上人對這地 should be. The portrait of each narrator drawn
如 是 說 》 小 書 內 ， 整 理 了 十二位 南 丫 方的情感和賦予的意義。 by Teresa allows readers to imagine more
島民的口述歷史，由他們各自講述自 vividly the personalities of these islanders.
南丫說 :
四個故事來自

Lamma Mia
兩代原居民，
講關於自己和
鄉村的故事。

Here are four stories

about two generations of
indigenous inhabitants
and their villages.

P.7
我來自鄉村
關朗曦攝。 （相片由南丫島模達灣歷史及社會研究計劃提供）
Photo by Matthew Kwan. ( Photo provided by Historical and
Social Research of Mo Tat Wan, Lamma Island Project)
我來自鄉村

Villagers

Villagers
南丫說 : 從索罟灣上岸沿郊遊徑步行，會穿過 Walking along the country trail from Sok Kwu

Lamma Mia
南段幾條村落，不難發現不少舊村屋 Wan, one will pass by several villages in South
已破落或倒塌，大部分鄉村原居人口 Lamma. As most residents have moved out,
已外移，平日間中只見三兩個村民在 one may only see a few villagers chattering
屋外乘涼閒聊。不過，表面景象沒能 outside village houses on weekdays. Many
說出鄉村的人心，以下四個故事來自 of these village houses have decayed or
四位心繫鄉村的原居民，講關於自己 collapsed. However, this scenery represents
和鄉村的故事：榕樹下村、鹿洲村、 only part of the villagers' stories. Here are
蘆鬚城村和東澳村。南丫島的傳統鄉 four indigenous inhabitants committed to
村以漁農維生，雖可自給自足，但賺 their home villages, telling the stories about
不到幾個錢，男人去行船去打工，留女 themselves and their home: Yung Shue Ha
人在村裡種菜和照顧家庭；下一代到外 Village, Luk Chau Village, Lo So Shing Village,
邊上學，在外邊做事。年長的說：「全 and Tung O Village. Traditional villages on
部都要搵食，各有各去㗎喇」，但 也 有 Lamma Island live on fishing and farming.
回到村裡來的；女的說：「冇理由嫁出 Although villagers are self-sufficient, they
去 就 斷 咗 條 根 」； 年 青 的 說 ：「 我 五 歲 don't make much money. Many male villagers
時跟阿爸阿媽返嚟住」、「我幫番自己地 worked abroad as seamen, leaving their wives

P.9
方我好proud（感自豪）」。四個故事來自 behind in the villages to farm and care for their
兩代鄉村原居民，維繫著這種「根」的 families, while the younger generations study
意識，是對傳統的信守、對家庭的牽 and work in town. An elder said, “Everyone
掛、對童年的懷緬。 heads for different directions to find his own
means of living.” However, there are exceptions.
A woman said, “I can't simply disconnect myself
from my birthplace after getting married and
having moved elsewhere.” Some youngsters
said, “My parents brought me here when I was
five.”; “I am proud to help out on the island.”
Representing two generations of indigenous
inhabitants, the four stories reveal how the
villagers affirm their roots with the villages,
uphold their village traditions, care for their
family, and recall their childhood memories.

上：攝於東澳。
Up: Taken in Tung O.
我來自鄉村

Villagers
下：1950年代模達學校的一群小學生。（相片由周玉堂先生提供）
Down: A group of pupils at Mo Tat School in the 1950s. (Photo provided by Mr Chow Yuk-tong)
南丫說 : 我來自鄉村 我和平後出世，唔使捱餓嘅，我哋自己
Villagers 種米、捕魚、養雞、養豬，兩餐冇問題
嘅。（糧食）多數自己食嘅，食唔晒棹艇過
去香港 仔 賣 ， 擺 街 邊 囉 ， 多 數 係 阿 媽 去 擺
街嘅。嗰時搵錢都幾艱難，番薯、魚幾毫
子一斤，好平呀，生活好貧窮㗎。
我喺南丫島讀到小學畢業，茅笪學校（後
來改稱模達學校）讀到兩年班，跟住三年
班冇喇，去蘆鬚城學校讀四年班，我都冇
讀過三年班，哈哈。我十幾歲開始出來做
事，跟人做建築呀，廣華醫院係我哋做第
一期嘅。到行船嗰時我都廿幾歲喇，行咗
十幾年囉。
嗰時1966年，（颱風）令到山邊冧泥，我爸
周玉堂 爸成間屋被佢冚咗，冇咗阿媽、一個妹、
Chow Yuk-tong
一個細佬，爸爸隻腳受傷，大佬、細妹、
I was born after WWII, so I didn’t suffer from
周玉堂，七十多歲，榕樹下村原 Chow Yuk-tong, an indigenous inhabitant hunger. We farmed, fished, and raised livestock
居 民 ， 1970年 出 任 榕 樹 下 村 村 長 ， of Yung Shue Ha Village, is now in his 70s. and poultry; we didn’t worry about food. We
1982年 至 今 出 任 南 丫 南 段 鄉 事 委 員 In 1970, Chow was elected as the village usually kept most of the food for ourselves, but
會主席。鄉委會主席是區議會當然 head. He has been Chairperson of the my mother would punt our boat to Aberdeen
成員，曾任多屆離島區議會主席。 Lamma Island (South) Rural Committee to sell some of our surplus. It was rather hard
天后誕是他最重視的島上事情之 since 1982. As a result, he has become an to make money back then. Sweet potatoes and
一，誕日他代表鄉委會向「阿媽」 ex-officio member of the district board fish were worth merely a few pennies per catty.
上香，翌日代表榕樹下村再來上香 and served as Chairperson of the Islands Hence, life was very rough in those days.
敬拜。 District Council for many years. Chow
is most concerned about the Tin Hau I graduated from primary school on Lamma
Festival. On that day, he offers incense Island. I studied in Mo Tat School till primary
to the Chinese goddess, on behalf of two and then jumped to primary four at Lo So
the Rural Committee and the village he Shing School. As I entered adolescence, I started
comes from. working in construction sites. It was us who built
the first phase of Kwong Wah Hospital. Later
in my 20s, I became a seaman and worked in
我來自鄉村
this profession for over a decade.
細佬三個出去打工，但係都冇辦法
Lamma Mia
啦，佢哋又冇能力又冇錢，好窮。嗰
陣我行緊船，1967年返到嚟，好彩有多
少積蓄，一萬幾千蚊起番間屋，起咗
我都即刻走喇，我要搵食嘛，剩番個
爸爸喺度。
一九六幾年我去過美國，嗰時搵食得
三兩百蚊一個月，上去美國打工就算
同一個銀碼，都多香港幾倍啦，所以
焗住上去做囉。先先梗係洗下碗啦，
乜嘢都做，捱咗三年。我七○年返來
即刻結婚，可以照顧老人家嘛，爸爸係
七一年過身嘅，我繼續都有行船，行完
船返嚟有時間做下建築，又行下船。
爸爸受傷之後，唔能夠代表條村去開
P.11
會 ，（ 鄉 委 會 ）主 席 陳 伯 業 話 ：「 喂 ，
In 1966, a landslide during typhoon took
the lives of my mother, younger sister and
brother. We lost our house and my father
had his leg injured. However, my survived
siblings were not able to take care of
him. A year later, I returned from abroad.
Thanks to having some savings, I spent
a dozen thousand to rebuild our house.
Nevertheless, I had to leave again for work
right after the building was completed,
leaving only my old man behind.
At that time, I could only earn HKD 200 to
HKD 300 a month, while the wages in the
States were several times more, so I went
there to work in the late ’60s. I started as a
dishwasher and then worked for all kinds
of jobs over the next three years. In 1970, I
Villagers
got married once I returned to Hong Kong
南丫說 :
「有時環境造就 咗 自 己 ，
做咗呢個位置 ，
一定要幫地區 爭 取 。 」
“Sometimes, we are a
product of our time.
As the Chairperson of the
Islands District Council,
I have to fight for the
needs of my community. ”
to care for my old man. He passed away in
1971. Afterwards, I continued my seaman
career and worked as a construction
worker during disembarkment.
My father, as a village head, could not
attend the Rural Committee meetings
anymore. The chairman, Mr Chan,
suggested to me, “Hey Chow, why don’t
you attend the meeting instead?” Besides,
our villagers also wanted a representative
to attend the meetings and raise their
concerns to the Committee. Therefore,
I took over my father’s position as the
village head in 1970. Then in 1982, a
group of village heads in South Lamma
nominated me as the Chairperson of the
我來自鄉村
Rural Committee. Being the committee
chairperson was no easy task as I had to
不 如 你 代 表 你 爸 爸 來 開 會 啦 。」我 哋 亦 都
想有人出去代表自己條村，睇下有乜嘢提
議都好啦，我七○年接手做村長，到八二
年 ， 有 一 班 村 長 要 推 我 出 嚟 上 去 做（ 鄉 委
會 主 席 ）， 我 上 去 做 都 幾 辛 苦 㗎 ， 嗰 時 淨
係顧住幾個細路仔都慘啦。整定喎，1982年
開 始（ 區 議 員 ）有 兩 千 蚊 車 馬 費 ， 嗰 時 兩
千蚊好好喇，慳慳哋囉。
我做咗主席之後，成個南段啲路做過晒，
舊時全部山路嚟，就算有石屎都唔標準
嘅 ， 我 建 議 政 府 ：「 落 後 嘅 地 方 呢 ， 唔 係
淨係人行㗎，鄉村車都要行得，搬運唔使
咁 辛 苦 嘛 ， 我 唔 愛 有 石 級 㗎 。」所 以 之 後
由索罟灣可以通到去東澳囉。可能政府逐
漸有啲經費，即係逐步逐步來囉，每一區
輪住做，都有成十年以上嘅時間先至通好
晒 成 條 路 。 好 似 茅 笪（ 模 達 灣 ）個 碼 頭 ，
take care of my children at the same time.
But things worked out in the end. In 1982,
members of the District Boards began to
receive a travel subsidy of HKD 2,000. It was
rather significant as one could easily sustain
by spending it wisely.
Once I became the chairperson, I urged for a
construction project to rebuild the main route
in South Lamma. In the past, the connection
between northern and southern Lamma was
merely a mountain trail. Although a few
stretches of the track were concrete, they did
not comply with the standard. I proposed to
the government, “The road in the rural area
should not only serve the pedestrians but also
cater to vehicles, to make transportation less
of a hassle.” As a result, there is direct access
between Sok Kwu Wan and Tung O now.
以前啲水乾出嚟，舊時街渡要爬梯咁上
Lamma Mia
去，嗰條路未整好，好似我太太咁要爬石
埋岸㗎陰功，又擔住嘢，又孭細路喎，幾
危險呀。我話要整條路先得㗎，同埋啲街
燈呢，我一路一路咁向政府表達要求囉。
有時環境造就咗自己，你做咗呢個位置（區
議會主席），你一定要幫地區爭取啲嘢，
離島唔係只有南丫島，成個大嶼山、長
洲、坪洲我都會去，覺得邊個工程需要
做，或者急切嘅，危險嘅，咪去睇去幫手
囉，最緊要合情合理。
P.13
Perhaps the government had a tiny budget for Council, I have to fight for the needs of my
the outlying islands; construction projects took community. Besides, Lamma Island is not
place in one area after another. As the project the only outlying island; I would also visit
progressed bit by bit, the entire route took Lantau, Cheung Chau, and Peng Chau
more than ten years to complete. I remember from time to time, and offer help to these
that the water level at Mo Tat Wan pier was communities if their demands are sensible
relatively low. One had to climb up a ladder and necessary.
onto the kaito ferry before the construction
project. For example, my wife had to climb
up the ladder and walk along the rugged
mountain trail with stuff on her shoulders and
our children on her back. The situation was
miserable and dangerous. I emphasised to the
government that proper road and street lights
were necessary. And I kept reiterating our
demand to the government.
Sometimes, we are a product of our time.
Villagers
As the Chairperson of the Islands District
南丫說 : 我來自鄉村 我阿爸行船嘅，我阿媽喺屋企養豬、種下
Villagers 瓜菜，好簡單嘅，以前喺島住啲人係咁
㗎。我六兄弟姊妹，我最大，讀完四年班
之後幫屋企囉，做家頭細務，又養豬。我
爸爸老古董嚟嘅，唔畀啲女出去做嘢，我
細佬有啲做廚師、有啲行船。我哋冇必要
唔 出 嚟 嘅 ， 通 常 去 蘆 鬚 城 多，去 探 外 婆 外
公呀（威嬸媽媽是蘆鬚城陳家村人）。
我 爸 爸 後 來 冇 行 船 返 咗 屋 企 ， 佢 話 ：「 你
要結婚喇！」咁咪結婚囉。我老公就係我外
公啲朋友嘅仔，外公去咗「賣豬仔」 （做勞
工 ）， 喺 那 魯 島（ Nauru， 南 太 平 洋 群 島 其
中一個島國） ， 識 得 我 老 爺（ 即 家 公 ）。 我
老公都去過那魯島做嘢，喺嗰度返咗嚟，
我外公有間屋就讓佢住，後尾佢鍾意咗索
威嬸 罟灣，咪喺呢度落腳囉。以前啲人好簡單
Auntie Wai
嘅，有得住有得食就得喇。
My dad was a seaman while my mum farmed
威嬸，七十多歲，鹿洲村原居民， Auntie Wai is an indigenous inhabitant pigs and vegetables. Life on the island was
十幾歲結婚，兩夫婦在索罟灣做海 of Luk Chau Village who is now in her simple in the past. As the eldest sister, I quit
鮮酒家，可謂家庭式生意。路過索 70s. Married in adolescence, she and school after primary four and helped my
罟灣時，經常見到威嬸閒坐酒家 her husband own and run a family-style mother with the housework and farming.
前，不忘與過路人打招呼，臉露慈 seafood restaurant in Sok Kwu Wan. When My dad was conservative. He didn’t allow me
祥的歡顏，訪談時威嬸說話幽默， passing by Sok Kwu Wan, one often sees to work outside the island when I was young,
深懂人情世故，隱隱透露著她對生 Auntie Wai sitting leisurely in front of her but my brothers worked as cooks and seamen.
活的體會。 restaurant, greeting passers-by with a kind We wouldn’t go out of the village unless
and cheerful smile. During the interview, it was necessary. We would travel to Lo So
Auntie Wai spoke humorously, with an air Shing to visit our grandparents (where her
of sophistication, and implicitly revealed mother was born).
her living experience in Lamma.
After my father retired, he said to me, “It’s
time for you to get married!” Soon after, I
got married to the son of my grandfather’s
friend. Sold to work on Nauru Island (a tiny
我來自鄉村
island country in South Pacific) as a coolie
(waged labourer) abroad, my grandfather got
我結婚買咗呢笪地，原本係我舅父
Lamma Mia
嘅，舅父賣畀我哋嚟起屋。我老公本
身做機器嘅，入咗嚟冇機器做喇，佢
話 ：「 做 咩 呢 ？」我 話：「 都 係 做 飲 食
啦！」嗰陣時對面有個礦場，呢邊球場
後面都有個礦場，礦場工人大概七、
八十個，我哋就做包伙食。嗰陣時幾
蚊一個人，三餸一湯，白飯任裝，都
係啲平價餸，去街市買到乜嘢平餸就煮
乜嘢，多數煮蘿蔔。冇得「責數」 （意指
先 記 賬 ， 稍 後 結 賬 付 款 ）㗎 ， 啲 工 人
係散工，嗰啲冇長工㗎，話走就走㗎
喇。一日做兩餐嘅，做埋夜晚，礦場入
便搭咗宿舍 嘛 。 有 女 人 做 雜 工 ， 係 涌
尾 村 啲 客 家人，佢哋返屋企食飯嘅，
冇幫襯我哋。
P.15
acquainted with my father-in-law. My
husband also worked on Nauru Island.
When he returned, my grandfather
offered to let him live in a vacant house.
Subsequently, he became fond of Sok Kwu
Wan and decided to settle down here.
People lived a simple life in the past. They
were satisfied as long as they had a place
to sleep and their mouths fed.
My husband and I bought this plot of
land from my uncle to build a house.
My husband used to work in mechanical
engineering, but he couldn’t continue
this profession here. He wondered back
then, “What should I do?” I responded,
“Probably the catering business!” At that
time, there was quarrying on the opposite
Villagers
side from here and behind the football
南丫說 :
「我阿爸行船，
我阿媽喺屋企 養 豬 、
種瓜菜，以前 喺 島 住
啲人係咁㗎。 」
“My dad was a seaman
while my mum farmed
pigs and vegetables.
Life on the island was
simple in the past.”
field, with about 70 or 80 miners in total.
Hence, catering services was a sustainable
business. We charged them a few dollars
per head for three dishes and a soup with
a free flow of rice. The dishes were simple;
we prepared whatever we bought cheaply
from the market. The most common
ingredient was radish. Since the quarries
wouldn’t hire long-term employees, all
the miners there were casual labourers.
Therefore, we didn’t allow them to pay
on credit. We served them lunches
and dinners as they would stay at the
dormitories in the mines. Some Hakka
women from Chung Mei Village also
worked as unskilled workers in the
quarries, but returning home for
我來自鄉村
dinner after work.
我哋做咗三年，礦場到期要交番畀政府，
咁就收喇，我哋冇得做喇，於是轉行做
海鮮。我老公以前冇做過飲食，靠自己
摸摸下，因為我幾個細佬做廚房嘅，
有人訂咗餐，有乜嘢唔識咪打電話去問
佢，教我老公點樣煮點樣煮。
以前食海鮮呢，外國人公司呀、英軍呀最
多，打電話嚟訂定夜晚黑幾多幾多，嚟過
就攞張咭片，要咪打電話嚟囉，嗰陣時冇
印咭片，寫紙仔咋。
我哋有四個仔，四個都喺蘆鬚城學校讀小
學，頭三個中途轉出去東華三院李西疇小
學，上環文武廟隔籬嗰度，第四仔在蘆鬚
城學校畢業。中學之後，大哥就話要讀廣
告，喺大一設計學院，最細個細佬就去咗
We ran the catering business for around three
years before the government reclaimed the
quarries. Afterwards, we had no choice but to
turn our place into a seafood restaurant. My
husband had never worked in a restaurant, so
he started by trial and error. Since my brothers
worked as cooks, we would ring them for
advice when people booked a banquet with us
or we had trouble preparing some dishes.
In the past, most of the customers came from
foreign companies and the British army. They
would call us to make reservations. First-timers
would pick business cards from us, which were
basically memo pads with our handwriting of
our name and phone numbers.
We have four boys; all studied at Lo So Shing
School. The three eldest sons studied senior
英國，食唔慣寄宿學校啲嘢又返咗嚟，有
Lamma Mia
一個都出去做過嘢，大半年就返嚟。
佢哋四個都識炒嘢嘅，最旺嗰時大哥得十
幾歲，放學返嚟要幫手㗎。我問佢哋：「邊
個願 意 留 喺 度 ， 邊 個 願 意 出 去 做 嘢 ？ 」 我
話四個都跟埋喺度就唔好喇，有啲出去出
面闖下啦。而家一大一細兩個喺出面開咗
間廣告公司，第二同第三個就喺度做嘢，
廚房佢哋兩個搞得掂晒㗎。
天后誕、八月十五，我帶埋啲細路返鹿洲
村囉，以前行路咋，行個零鐘頭啦，自己
生條根喺嗰度，冇理由一嫁咗出去，斷咗
條根㗎。而家我老咗行唔到囉，個仔揸船
車（ 即 駕 駛 摩 打 船 前 往 ）我 去 囉 ， 如 果 唔
係，你會見我坐喺嗰度？
P.17
grades at TWGH Lee Sai Chow Memorial to venture out?” Eventually, the eldest
Primary School next to Man Mo Temple and the youngest sons ventured out and
in Sheung Wan, while the youngest son established an advertising agency, while
graduated from Lo So Shing School. After the second and third ones stayed behind,
completing secondary school, the eldest son taking care of all the cooking.
enrolled in the First Institute of Art & Design.
The youngest one went to study in the UK but I always return to Luk Chau Village
returned soon after as he couldn’t adapt to the with my kids on the Tin Hau Festival or
meals at boarding school. Another had worked Mid-Autumn Festival. We used to walk
in Hong Kong but returned to the Island after an hour or so to get there. But now we
several months. get there by boat as I can’t walk a long
distance. Luk Chau Village is my root;
Our business was most prosperous when our I can’t simply disconnect from my
eldest son was in his teens, so all my boys had birthplace after getting married and
to help out in the restaurant after school. I moving out from there.
thought it was not a good idea to have them all
stay behind to run the restaurant, though all
four know how to cook. One day, I asked them,
Villagers
“Who is willing to stay behind and who wishes
南丫說 : 我來自鄉村 當時廿四、五歲，媽咪叫我去做村長，
Villagers 我 有 少 少 愕 然 ， 問 佢：「 做 啲 咩 㗎 ？ 」
佢 話 ：「冇 呀 ， 打 下 電 話 、 寫 下 信 啫 。」
我當時喺香港做緊推銷員，通常都係打下
電話、搵下客，心諗呢啲係我強項啦，
我去幫手啦，我相信嗰個年代（2003年），
可能係全香港最後生嘅村長。
做咗村長冇幾耐，我好深刻印象，兩個老
人家喺蘆鬚城村條斜路斬樹開路，兩個都
七、八十歲，話開路畀人拜山，有老人家
要坐輪椅，泥路係推唔到輪椅㗎，我哋原
居民好著重拜祭祖先，就算佢七、八十歲
都想去到祖墳，盡佢孝子嘅心意。
陳浩然 都冇後生仔喺度，搵邊個幫手啫？佢哋
Chan Ho-yin
唔 會 打 畀 喺 市 區 嘅 仔 ，「 喂 ， 你 返 嚟 斬 草
呀 。」雖 然 我 唔 識 斬 草 斬 樹 ， 我 覺 得 應
I was 24 or 25 when my mum asked me
陳浩然，四十多歲，蘆鬚城原居 Chan Ho-yin, now in his 40s, is the to serve as the village head. With a bit of
民後代，父母在索罟灣開辦海鮮酒 descendant of the indigenous inhabitants surprise, I asked, “What are the duties?” She
家，與四位兄姐一同為家庭生意拼 of Lo So Shing. His family runs a seafood replied, “Nothing special, just to make some
搏。二十四歲起出任蘆鬚城村長十 restaurant in Sok Kwu Wan, and he calls and write some letters.” I was working
六年。 dedicates himself to the family business as a salesman on Hong Kong Island at the
together with his siblings. At the age of time, making cold calls and meeting clients
24, Ho-yin took up the position of Lo So every day. I was confident of performing these
Shing’s village head, serving the village for duties, so I decided to give a helping hand.
at least 16 years. I think I was probably the youngest village
head in Hong Kong back in 2003.
I saw a shocking scene soon after taking up
the position: two elders in their 70s or 80s were
chopping down some trees along the slope
in Lo So Shing. They said they were opening
a path for the elderly on wheelchairs to go
我來自鄉村
grave-sweeping. We indigenous inhabitants
hold worshipping ancestors in high esteem.
該有更有效方法永遠解決呢個問題，
Lamma Mia
咪寫信去民政署申請嗰條路囉，點知
一整就整咗十四年，頭四年完成三分
一，點知一等，等咗十年先整好成條
路。完成嗰日，我好開心呀，因為喺
我角度，呢件真係好偉大嘅工程。
我係呢度人，南丫島人，我幫番自己
地方，我好proud of（感自豪）呢樣嘢。
當 時 媽 咪 成 日 叫 我 ，「 喂 ， 你 快 啲 去
睇 下 佢 啦 ， 嗰 度 派 米 呀 。」「 你 去 幫 下
啦，盞燈壞咗，幫手整啦。」有人跌到，
「使唔使睇醫生呀？」「使唔使叫水警，
叫 直 升 機 ？」 媽 咪 當 時 有 呢 個 思 想 ，
阿仔去幫下自己條村啦，爭取條村嘅
未來啦。
P.19
Even though they were in their old age,
they endeavoured to fulfil their filial piety.
Since the younger generations were
working in town, no one could give them
a hand, nor would they bother ringing
their children for help, “Hey, could you
come back and help cut down some trees?”
Although I was no expert in tree felling, I
believed there ought to be a more effective
way to solve this problem. Thus, I wrote to
the Home Affairs Department, asking the
government to build a road at this spot.
But I didn’t expect it would take 14 years to
complete. It took four years to build merely
one-third of the road, while the remaining
part took another ten years. I was thrilled
when the construction was done because it
Villagers
was such a meaningful project.
南丫說 :
「條根喺晒度， 嗰個年代條村比較窮，頭班船六點鐘， 阿 爸 九 七 年 走 咗（ 離 世 ）， 五 兄 弟 姊 妹 連

Lamma Mia
天未光佢哋就起身預備賣菜，冬天好 埋阿媽，一家人攜手捱過各種難關。最艱
媽咪決定喺度 凍㗎，一早見到班老人家坐滿晒喺街渡， 辛嘅時刻，阿媽養雞、種菜、養魚、做生
根深蒂固發展 ， 好辛苦㗎嗰啲生活，我屋企就比較幸運， 意、拆樓、起樓，日做夜做，一年出唔到
比佢哋好啲，我都希望回饋番自己條村， 香港三次，買唔到兩件衫，街坊仲笑佢著
我做仔亦都唔 想 佢哋讀書機會唔多，我有咁嘅能力，希望 住穿窿衫出嚟，其實佢唔介意呢啲嘢嘅。
令佢失望…… 」 可以幫到佢哋。
我而家都係喺舖頭樓上住，小朋友去西營
“We are rooted in 我 哋 都 唔 係 一 朝 發 達 ，係 阿 爸 媽 咪 捱 番 盤讀書，朝頭早搭船出去再搭車囉，我細
嚟，我聽家姐、阿哥講，當時我老豆行船 個都係咁樣，慣咗喇。我哋啲資源全部投
Lamma Island, and 㗎，媽咪就湊住阿哥家姐耕田賣菜，阿哥講 放晒落南丫島，嗰條根喺晒度，媽咪決定
my mum has decided to 過推橙去賣，碌到通斜路都係橙，喺香港仔 喺度根深蒂固發展，我做仔亦都唔想令佢
deepen our roots here. 嗰邊，我問阿哥：「點呀？」佢話：「執番佢 失望，我哋個家係成家人犧牲咁多得番
囉 ， 點 呀 ？ 冇 錢 呀 嘛 嗰 陣 時 。」我 出 世 佢 嚟，我唔想輕言話放棄。
As her child, I don’t want 哋已經開舖，我冇經歷過呢啲日子。
to let her down...”

I am a native of Lamma, and I am proud that
I can help with the matters on the island. In
the early days, my mum often asked me, “Hey,
someone is giving out rice; you should go
check it out.” “A lamp is broken. You should go
and help fix it.” If someone fell, she would ask,
“Should we send them to the hospital? Should
we call the Marine Region for a helicopter?” In
my mum’s mind, I am responsible for serving
our home village and fighting for its future.
Our village was relatively poor in the past.
Villagers had to get up before dawn to catch
the first ferry at 6am to sell vegetables in town.
Although it was freezing in winter, elders
always crowded the ferry pier in the morning.
Their lives were harsh. I was rather lucky to be
我來自鄉村
My parents devoted all their time and energy
to improve the conditions of our family.
According to my elder sisters and brothers,
dad worked as a seaman while mum sold
vegetables with the younger ones on her
back. Once my brother pushed a trolley to sell
oranges in Aberdeen, he dropped them all over
a steep road. I asked my brother, “What then?”
He said, “I picked them up. What else could I do?
We were in poverty back then.” My family was
able to set up this shop when I was born. Hence, I
have never experienced those rough days.
My dad passed away in 1997. My siblings
and I have tided over the many difficulties
afterwards with mum. In the most challenging
time, my mum had to look after our poultry,
P.21
only travel to Hong Kong Island once or
twice a year for some shopping. Even when
some villagers teased her about her ripped
clothes, she would never get annoyed.
Nowadays, my family and I live on the
upper floor of our shop, and my kids
commute to Sai Ying Pun for school as I
did before. They are accustomed to living
here. We have devoted all our resources to
the island. We are rooted in Lamma Island,
and my mum has decided to deepen
our roots here. As her child, I don’t want
to let her down. Because my family has
sacrificed so much to overcome all the
difficulties, I will never give up living here.

born into a slightly better off family. And since fish, and vegetables, as well as the family

Villagers
the villagers didn’t have much chance to study, business and the reconstruction of the family
I felt obliged to contribute to my village. house. She worked around the clock and could
南丫說 : 我來自鄉村 我細個時候，東澳好多人都搬晒出去，平 到嚟，佢會整理啲漁獲，有石斑、鱲

Lamma Mia
Villagers 日嚟講有三、四十人，過節時候會多啲 魚、䱛仔。我就跳落去游水，由天黑
嘅 ， 以 前 喺 後 面（ 往 索 罟 灣 的 郊 遊 徑 旁 的 游到天光，因為五點零鐘返到嚟，太
山 谷 內 ）有 幾 十 間 屋 㗎 ， 我 細 個 行 過 去 仲 陽升起係六點半。哈哈哈！
有一部分，好破落冇人住㗎喇。耕田嘅
話喺深灣，有人耕種，我聽佢哋講通常種 東澳以前呢度（東澳至深灣之間的地）
米，有人養牛，我阿爺有養牛嘅。 全部田嚟㗎，我哋行田十分鐘去到深
灣，見到村民喺度，全部都識嘅，同
我喺九龍城出世，五、六歲跟阿爸阿媽返 我阿嫲打招呼，都會叫我㗎。我記得
嚟住，平日返學住索罟灣，禮拜六日住下 有龜蛋嘅日子係暑假，我細個唔知係
東澳，或者成個暑假喺東澳住，兩邊走來 乜嘢，龜蛋係一個乒乓波咁樣，我
走去囉。除咗我同家姐，冇乜小朋友喺度 話：「點解有雞可以生圓形嘅蛋？」哈
玩嘅，條村唔係話冇小朋友，可能佢哋已 哈哈。啲龜爬到差唔多近草邊生蛋，
經出咗去住，冇留喺呢度。 村民通宵捕住，我朝早去到，見到佢
哋已經執緊啲蛋，唔知係咪有規矩，
陳子健 阿爺捉魚多啲，以前東澳有龍蝦、鮑魚， 總之攞一半就留番一半。¹ 我七、八歲

Jackie Chan
仲有好多魚。我都有跟去捉魚，都係近 去過一兩次，之後冇聽講再有去喇。

P.23
岸唔會好遠，隻船係搖櫓嘅，阿爺一返

Jackie， 四 十 多 歲 ， 東 澳 村 原 居 民 Jackie, now in his 40s, is the descendant of
的 後 代 。 1980至 1990年 代 中 在 東 澳 an indigenous family of Tung O Village.
村及索罟灣度過童年，遠赴英國十 He spent his childhood in Tung O Village
年，大學畢業後在一跨國公司任 and Sok Kwu Wan from the ’80s to the
職，回港後決定在島上發展家族事 mid-’90s before living abroad in the
業。鍾情南丫島的環境，近年喜歡 UK for ten years, where he worked in a
用航拍機拍下島的風景，說是從新 multinational company after graduating
的角度認識自己的地方。 from university. Eventually, he decided
to return to Lamma Island to develop his
family business. With great admiration for
the island’s natural environment, Jackie
has begun to capture the sceneries of
Lamma with a drone in recent years. He
believes that aerial photography has given
him a new perspective to understand his
home place.
我來自鄉村
When I was a kid, a lot of Tung O people have
moved out of the village. There were merely 30
to 40 people in the village on weekdays, but it
would become slightly more bustling during
festivals. There used to be dozens of houses in
the valley along the country trail to Sok Kwu
Wan. I travelled there a few times when I was
young, but they have been deserted for a long
time. There were farmlands in Sham Wan;
I heard they would grow rice and raise cattle.
My grandpa also raised cattle.
I was born in Kowloon City. My parents
brought me back to Lamma when I was five
or six. We would stay in Sok Kwu Wan for
school during the week and return to Tung O
on weekends or over the summer holidays.
me, very few children would hang out in
Tung O. Although the villagers did give birth
to children, most have moved to the city.
In the past, there were lobsters, abalones,
and a lot of fish in Tung O. My grandpa
often went fishing, and I would go with
him by boat to the shore of Tung O. After
fishing, my grandpa would immediately
sort the catches, including groupers,
snappers, and croakers, and I would jump
into the sea to swim until daybreak. Since
we usually landed at around 5am, I would
swim for an hour and a half before sunrise
at 6:30am. Hahaha!
In the past, the area between Tung O and

Therefore, we often travelled back and forth Sham Wan was all farmland. We needed to

Villagers
between the two places. Except for my sister and walk for ten minutes to pass through the
南丫說 :
「以前東澳有龍蝦 、
鮑 魚，仲有好 多 魚……
阿 爺整理漁獲 ，
我 跳落去游水 ，
由 天黑游到天 光 。 」
“In the past, there were
lobsters, abalones, and
a lot of fish in Tung O...
While my grandpa was
sorting the catches,
I would jump into the sea
to swim until daybreak.”
fields before arriving at Sham Wan. The
villagers were familiar with each other.
They would also greet me after saying
hello to my grandma. I remember the
green turtles would lay ping-pong-like
eggs in summer. I knew nothing about
turtle eggs back then and wondered, “Why
do these hens lay spherical eggs?” Hahaha!
The turtles would crawl to the side of the
grassland to lay eggs, and the villagers
would observe all night long. When I got
there in the early morning, people would
have started picking the eggs. I didn’t
know if it was a rule, but the villagers would
always leave half of the eggs behind.1 I saw
that once or twice when I was seven or
eight. But I couldn’t recall having such
我來自鄉村
activities again.
我記得以前喺東澳，一個假日有成五、六 最有歸屬感都係東澳村，阿爺阿嫲喺嗰
Lamma Mia
百人入去宿營、露營、營火會、游水、扒 度，祖墳都喺嗰度，我由細到大喺度玩，
艇，真係好多人㗎。阿爺同阿嫲做渡假 你知東澳出面有好多石排，我喺嗰度走來
屋，租屋同埋沖涼設施咁囉，佢哋有兩個 走去，得我一個做到咋，啲遊客跟住我基
用石搭建燒柴嘅爐，畀啲人煮嘢食，啲人 本上跟唔到㗎，呢啲就係細個嘅經歷。
嚟宿營，都會喺度煮嘢食嘅，又會攞啲畀
阿爺阿嫲，我都食唔少呀。
我過咗去英國讀書，去咗十年，讀城市規
劃，我喺英國做過幾年嘢，我返咗嚟之
後，我話不如畀我休息兩三個月先，我已
經離開咗南丫島十年，覺得要返嚟了解下
各樣嘢，見到阿爸阿媽做得好辛苦，覺得
自己嘅事業幾時都可以做番，先諗個辦法
幫到佢哋啦，於是開始諗下周邊嘅嘢，你 1 南丫島深灣沙灘是香港唯一不時有綠海龜上岸產卵的地點，政府於1999年將深灣沙灘、淺水水域和綠海龜
一定要帶動到成個地區嘅經濟，先至係長 繁殖水域劃為限制地區，以保護綠海龜。昔日村民未有保護自然生態的意識，單純地把龜蛋視為食物，卻自
遠發展。 訂一套規矩──不要全部撿清光，要保留一半，這可說是原始的環保意識。
P.25
As I remember, there could be five or six my career and started to think about the You know, there are many coastal bedrocks
hundred tourists coming to Tung O on development of Lamma as a whole. I believe in Tung O, and I often jumped on these
weekends for activities like camping, hosting driving the economy of the entire island is the bedrocks when I was a kid. I was the only
campfires, swimming, and rowing. It was only means for sustainable development. one capable of doing that; the tourists who
overcrowded. My grandparents ran vacation followed my lead could never keep up with
homes with shower facilities and two stone Among the many areas on the island, I feel me. These are some memorable stories of
stoves for the guests. Campers would cook most attached to Tung O as my grandparents my childhood.
with the stoves and share food with my lived here, and we have ancestral graves here.
grandparents. I also had a lot of their
barbecue food.
Later, I went to the UK to study urban
planning and eventually worked there for
several years. Then, I decided to take a break
for a few months and return to the island to
1 Sham Wan Beach on Lamma Island is the only place in Hong Kong where green turtles come ashore to lay eggs.
see how it has changed over the years. After
In 1999, the government designated Sham Wan Beach, the shallow waters around it, and the green turtle breeding
seeing the labourious works of my parents, I
waters as restricted areas to protect the species. In the past, villagers regarded the turtle eggs as food and were not
felt the urgency in helping with their business.
Villagers
conscious of the importance of ecological conservation. But they did establish a rule to conserve half of the eggs
Therefore, I decided to temporarily abandon instead of picking up all. To a certain extent, this could be a premodern form of environmental awareness.
南丫說 :
三位漁民的故事 ，

Lamma Mia
從水面人的視角 ，
描述南丫島的
大自然和人文景 觀 。

Three fishers share

their stories that
illustrate the natural
and cultural landscape
of the Island from
the water people.

P.27
水面人
1979年索罟灣水面社區。 （相片由政府新聞處圖片資料室提供）
Water people’s community in Sok Kwu Wan in 1979.
(Photo provided by the Photo Library of the Information
Services Department)

Water People
Water People
水面人
南丫說 : 渡輪駛入索罟灣碼頭前，必先經過櫛 Before a ferry berths at the Sok Kwu Wan

Lamma Mia
比鱗次的漁排，若從岸上的山腰往下 piers, it passes through rows and rows of
望，索罟灣便是一個漁灣。這裡本是 mariculture rafts. If one overlooks Sok Kwu
一個小漁灣，在附近海灣捕魚的漁船 Wan from the mountainside, one will find a
停 靠 ， 沙 灘 上 不 時 有 漁 船 在 燂 船（ 燒 mariculture bay. It was once a small fishing
山草以煙燻來清理船底的貝殼海藻雜 bay, for small inshore fishing boats to anchor
物 ）。 約 1960年 代 起 有 人 在 水 中 養 魚 ， and for the fishers to clean up the bottom of
聽說是一個漁戶在岸上開酒家，為保存 their boats with burning grasses on the beach.
海鮮之鮮想出來的妙法，逐漸為其他漁 People started practising mariculture around
民效法並將之演變成海水養殖業，索罟 the ’60s. Some said a fisher who ran a seafood
灣成為香港最大的養魚區之一。 restaurant came up with this idea of keeping
his seafood fresh in the water near shore.
索罟灣水面曾經有二、三百個漁排， Gradually, with many more rafts being built
漁民來自榕樹灣、鹿洲灣、香港仔等 in the bay, Sok Kwu Wan becomes one of the
不同灣頭，本來水面人隨著魚的游蹤 largest mariculture zones in Hong Kong.
而遊走，漁排設在索罟灣使他們以這
裡為家。下面三位漁民的故事，談到 There used to be 200 to 300 rafts in Sok Kwu

P.29
南丫島的魚、海灣、生計和人情味， Wan, with owners originated from Yung
讓我們從水面人的視角，加深認識南 Shue Wan, Luk Chau Wan, Aberdeen, etc.
丫島的大自然和人文景觀。 Traditionally, water people moved along with
the fish. But mariculture has turned the bay
into a home for the water people. Here three
fishers share their stories about fish, bays,
livelihoods, and interactions among people on
Lamma Island. These stories let us understand
the natural and cultural landscape of the island
from the perspectives of the water people.

上：清晨歸航索罟灣的燈光圍網漁船。
Up: A purse seiner returned to Sok Kwu Wan in the early morning.

下：九月份一次晚間出海的漁獲，有黃魚和油鱲仔。

Water People
Down: A catch of yellow croaker and small snapper in September from a fishing trip at night.
水面人
南丫說 : 水面人 以 前 都 有 人 拋（ 泊 漁 船 ）喺 索 罟 灣 呢 邊 ，
Water People 不過唔多，都係十隻八隻。喺榕樹灣出
海 嗰 啲 唔 過 嚟 呢 度 ， 榕 樹 灣 做 到 嘢（ 有 漁
獲 ）， 或 者 好 少 少 嘅 魚 可 以 攞 上 岸 賣 ， 榕
樹灣多人住嘛，呢邊岸上好少人住嘛。
呢 度（ 索 罟 灣 ）養 魚 好 多 都 係 榕 樹 灣 過 嚟
㗎，我阿爺都係榕樹灣嗰邊嘅，嗰陣時
我哋出海捕魚嘅，所以喺嗰邊。阿爺、
阿爸、兩個阿哥都一齊做漁民㗎，我細個
都 有 出 海 㗎 ， 做 刺 網 㗎 ， 多 數 喺 南 丫 島附
近，下尾、深灣、石排灣呀嗰邊囉，夏天
捉啲青衣、斑、紅鮋，冬天有鱲魚、龍蝦、
甚至乎馬友都有。臨天光四點就出去，做到
晏晝就返嚟埋（靠岸）榕樹灣喇。
鄭火帶 我真係冇讀過書，完全冇，因為我哋做漁
Cheng For-tai
民，如果阿爸阿媽出咗海，自己讀書，冇地
People used to moor their boats at Sok Kwu
鄭火帶，六十多歲，索罟灣漁民。 Cheng For-tai is a fisherman in Sok Kwu Wan. There were not many of them in the ’50s
在水上漁排和岸上酒家之間找到生 Wan and now in his 60s. He lives on a and ’60s, less than ten at most. Those who
活空間，專門供應海鮮。談及過 mariculture raft and earns a living by sailed from Yung Shue Wan would not sail
去，他一邊嗟嘆一生都要捱苦，一 selling seafood to the restaurants in Sok here as they had enough catches on their side.
邊以佻皮和自豪的口吻憶述水上生 Kwu Wan. Speaking of the past, Cheng Besides, the demand here was not as great
活的苦與樂。 sighed that he would have to struggle as Yung Shue Wan, as the population was
for survival throughout his life while small here.
recounting the pains and joys on the sea
in a humorous and proud tone. Most people practising mariculture here
originated from Yung Shue Wan. For instance,
my grandpa was born in Yung Shue Wan.
My grandpa, father, and two elder brothers
were all fishermen. I followed them to the sea
when I was a kid, practising gillnetting around
Lamma Island at Ha Mei, Sham Wan, and Shek
Pai Wan, catching wild parrotfish, groupers,
and red snappers in summer, and sea breams,
水面人
lobsters or even threadfins in winter. We would
方 住 都 唔 可 以 啦 ，（ 我 哋 ）跟 住 隻 船 ，
Lamma Mia
阿爸阿媽有飯食，我哋就有飯食咯，
哈哈哈。
之 後 我 阿 爺 唔 喺 度（ 離 世 ）， 我 爸 爸
話：「不如去索罟灣試下養魚啦！」所
以過咗嚟呢邊，嗰陣我十五、十六
歲（ 約 1970年 代 初 ）。 嗰 時 唔 係 好 多 人
咋，一百幾十個漁排都唔知有冇，
嗰陣蘆荻灣都有㗎，我哋決定喺索罟
灣，因為呢度有茶飲又有嘢食，你起
碼想買一啲嘢都有吖嘛。
呢度背風啲囉，平日嚟計冇咁易有風
浪 打 入 嚟 ， 如 果 大 風 浪 ， 啲 浪 chok下
chok下 ， 啲 魚 籠 熬 下 熬 下 ， 魚 係 咪 會
受傷呢？如果魚有病儘量唔好郁佢，
P.31
唔畀佢食嘢，佢食嘢會繼續發病㗎，
sail out at 4am and fish until noon before
returning to Yung Shue Wan.
I have never been to school because I was
born in a fishing family. I could not attend
school, because I would have no place to
stay if my parents headed out to sea. As
children, we would never have to worry
about food if we stick with our parents on
the boat.
After my grandpa passed away, my father
decided to try mariculture in Sok Kwu
Wan. Therefore, here I am. I first came
here when I was 15 or 16 (in the early ’70s).
At that time, there were at most a hundred
Water People
mariculture rafts and some in Lo Tik Wan.
But I chose Sok Kwu Wan because of the
restaurants and shops here.
南丫說 :
「我哋決定喺 我去過湛江海洋大學深造咗一個禮拜，我 養啲魚大約都係嗰幾種，低價魚我就好少

Lamma Mia
哋組合咗一班漁民去，四十幾人多數係南 嘅，海鮮檔望到啲魚我都有養嘅，有啲喺
索 罟灣（養魚 ）， 丫島啲人，除咗索罟灣，鹿洲、蘆荻灣都 出邊海鮮檔攞番嚟。
因 為呢度有茶 飲 有養魚嘅。
而家都出海㗎夜晚，十二點零鐘出海，
又 有嘢食。」 以前好多人㗎啲漁排，有成二百、三百個 五、六點返嚟囉，我多數七點前要返到
漁 排 。 後 尾 有 人 攞 咗 大 廈（ 公 屋 ）喇 ， 漁 嚟。揸嗰啲二百幾匹出去搵魚，快艇嗰啲
“I chose Sok Kwu Wan 農處又唔畀咁多漁排，又搵唔到食，我兩 好快㗎，一個夜晚去好多地方，橫瀾島至
個阿哥一個喺石排灣，一個喺利東邨，佢 大嶼山都到㗎我哋，做燈光圍網，攞細魚
( for mariculture) 哋 好 早 冇 做 魚 喇 ， 去 咗 做 遊 艇（ 為 僱 主 打 呀，黃魚、魚仔，白飯魚嗰啲囉。我哋鍾
because of the 理 和 駕 駛 ）， 大 哥 做 遊 艇 都 退 咗 ， 佢 都 七 意咁玩，有時多起上嚟有萬零蚊一晚㗎，
十歲咯。 有時冇㗎喎，好似今朝我哋得千零蚊嘢。
restaurants here.” 我哋一隻艇就做到嘞，做開大漁船嗰啲都
我而家做漁排，啲魚供應呢度兩三間海鮮 唔明我哋點做，唔講得明畀你知㗎，你識
酒家，榕樹灣嗰邊嘅酒家我都有供應過 咗我咪多一個競爭對手？哈哈哈。
去 ， 如 果（ 島 外 ）畀 個 價 錢 合 理 ， 我 都 會
交啲魚出去嘅，如果佢哋要攞貨，我都要

P.33
幫下手，（島外）啲海鮮檔我都好熟嘅。我

Sok Kwu Wan is a leeward location, so
the water here is calm. Otherwise, under
typhoons the rafts will become wobbly, and
the trembling cages suspended from the rafts
may injure the fish. When the fish are ill, it’s
best not to move or feed them; otherwise, they
will not recover soon. I have once been to
the Guangdong Ocean University for a one-
week intensive course along with around 40
fishermen from Sok Kwu Wan, Luk Chau and
Lo Tik Wan.
Later on, there were more people practising
mariculture, with up to 200 or 300 rafts.
But subsequently, some left as they were
granted flats in public housing estates, and
less profitable. So, my two brothers, who were
granted a flat at Shek Pai Wan and Lei Tung
Estate, quitted mariculture early. They worked
on yachts instead (hired for taking care of
and driving the vessel). My elder brother,
who is now over 70, has even retired
from the profession.
My raft now supplies fish to two or three
seafood restaurants here and those in Yung
Shue Wan. If the fish are in high demand, I
will also sell them to restaurants elsewhere.
I am also well-connected to the seafood
markets outside of Lamma. Hence, if they are
specifically looking for a certain type of fish, I
will always help. I raise only higher-priced fish.
I sail out for fishing at night nowadays,
usually out at midnight and return at 5
or 6am. But I must return by 7am. My
speedboat is propelled by motors that
have over 200 horsepower. Because it
is fast, I can sail to several locations in
a night, including Waglan Island and
Lantau Island catching small fish like
yellow croakers, and noodlefish, by light
purse seining. I like this practice. In high
seasons, I can make around HKD 10,000
with the catch, though I may only earn
HKD 1,000 a day in low seasons. I do that
with one small boat. People operating
large fishing boats have no clue about how
I catch so much with a small boat. But I

Water People
the Agriculture, Fisheries, and Conservation Most fish in a seafood restaurant are available won’t reveal my secret to the competitors.
Department restricted the number of rafts. in my raft, though some are taken from the Hahaha!
水面人

Besides, running mariculture rafts became seafood stalls outside.

南丫說 : 水面人 一九六幾年呢度（索罟灣）已經有人養魚， 我自己嚟計，七三年返番嚟呢度（索罟

Lamma Mia
Water People 我哋就喺香港仔嗰邊養，未起到漁排嘅 灣）養魚，我兩個漁排加埋七百幾米。
方式，用個籠浮住幾籠魚，其實唔多嘅。 最興旺嘅時間係斑，嗰時魚苗開始由
我哋由細喺水面生活，知道呢條係乜嘢斑 外國運嚟，因為本地捉到嘅斑苗太
苗，呢條係火點苗，呢條係紅鮋苗，因為 少，冇可能滿足到呢個行業。最主要就
我哋知道賣到錢又養得大呢，咪捉嚟養 青斑，初時就好搵錢，養咗一段時間佢
囉，主要係鱲魚苗，呢個係第一步。 就唔係咁養得，轉咗「芝麻斑」，呢 兩
種斑就幫助養魚業發展得好好嘅。
魚卵受咗精通常係浮水嘅，隨流水漂到條
魚破卵而出，佢就會搵個安全嘅地方慢慢 養魚最危險係紅潮，九七回歸後嗰舖
聚聚下，就成群喺度咯。（海床）沙泥底一 就成個索罟灣清袋喇，大部分漁排
般魚苗群都多，石頭嗰邊唔多嘅，石頭匿 死晒魚，跟住冇錢再落魚苗養魚，因
藏太多危險，有蟹，有大條嘅魚。所以魚 為你所有嘅積蓄喺晒個海裡面，同埋
苗多數喺啲泥灣、沙灘邊，我哋就攞個漁 養魚需要時間，一批魚苗落到去養成
網，喺沙灘行過去，一人拖住個網，拖 成魚，快嘅要年幾，慢嘅要兩年甚至
三 十呎至四十呎先起一網，有幾多捉幾多 三年，睇你啲品種咯，嗰段時間冇收
梁錦全 㗎喇。 入嘅，你點生活呢？紅潮之後，我有

P.35
Leung Kam-chuen
一段時間都養魚，但數量唔多，我一

梁錦全，約六十歲，在索罟灣出 Leung Kam-chuen, also known as brother
生，雖然漁船作業流動不定，且經 Chuen, was born in Sok Kwu Wan.
常在香港仔工作和居住，但他自覺 Although he has lived a wandering life
是索罟灣漁民，現經營漁排兼出海 on fishing boats, this 60-year-old man
捕魚，若早上見到一艘漁船拖著六 considers himself a fisherman of Sok Kwu
艘小艇，駛向索罟灣，那便是全哥 Wan. One will easily recognise brother
捕魚後歸航了。 Chuen by his trawler with six smaller
boats with catches sailing back to Sok Kwu
Wan in the morning.
People have been farming fish in Sok Kwu
Wan since the ’60s. At that time, I was
farming fish in Aberdeen. Before owning
my mariculture rafts, I used floating pots to
raise fish. Having lived on the water for my
entire life, I can tell the fry species with just
a glimpse. Because fish like groupers and
snappers are valuable, we caught and raised
their fries for a living. Snapper fries were the
first species I farmed.
Fertilised roe generally floats on the water
surface and flows with the sea current until
it hatches. Afterwards, the fries will gather
in groups at safe locations, like the sandy
seafloor. They seldom swim around the rocks
simply drag a fishing net along the
coast for 30 or 40 feet to catch as many
as we can.
I returned to Sok Kwu Wan for mariculture
in 1973, owning two rafts that add up to
around 700 sq. metres in length. In the
heyday, I farmed groupers primarily.
However, local grouper fries were so
rare that they could barely satisfy the
market demand. Therefore, we imported
fries from other countries. We earned a
fortune by farming green groupers in the
early days. However, they didn’t adapt to
the environment here, so we turned to
duskytail groupers instead. These two

Water People
as predators such as crab and big fish often species have prospered the mariculture
conceal between the gaps. Since most fries business in general.
水面人

populate in muddy bays or along beaches, we

南丫說 :
「有測魚機，有經 驗 ， 路養住魚嚟轉行，我轉行出番海捉魚。 節魚就最好，夏天食西南風，大風由嗰邊

Lamma Mia
吹過嚟，啲魚經過呢邊一路游過嚟，喺石
知 道天氣流水 ， 農曆三、四月做季節性嘅魚，用燈光圍 排灣呢區有迴流，啲魚可以喺度停留兩、
知 道魚出沒位 置 ， 網，下午四、五點開船，六點零鐘天黑， 三天，如果有嘢食佢停耐啲，凝聚咗啲魚
我五點零鐘到達就得喇，跟住就放啲燈光 喺度。
先 至可以做到 㗎 。 」 艇，我有六隻燈光小艇，加上我隻主船，
每一個燈光位 一 網 ， 做 七 網 我 預 算 做 到天 呢度岸上人對我哋啲漁民好好，嗰陣時有
“I do purse seining with 光 就 啱 啱 好 嘅 。 天光回航喇，去香港仔田 颱風呢，叫我哋走埋嚟避風，唔係淨係叫
灣過晒啲魚畀收魚艇，跟住就補給（冰、食 我 㗎 ， 一 打 風 ， 見 到 你 就 嗌 ：「 喂 ， 呢 度
lights in some seasons 水和燃油），跟住返番過嚟呢邊泊番漁排。 有 埞 呀 ， 避 風 呀 ， 你 嚟 啦 。」打 風 唔 係 兩
while depending on sonar 三個鐘㗎嘛，佢哋做酒家，個廚房整埋嘢
我而家做夜晚（捕夜間活躍的魚）
，啱季節 畀你食，你咪睇到呢啲感情最難得囉。到
in others. One needs to 做燈光圍網，唔啱季節唔用燈，有測魚 而家我哋都好尊敬佢哋，大家見面都打招
know the fish habits and 機，有經驗，知道天氣流水，知道啲魚出 呼嘅。
sea current to survive in 沒嘅位置，所有嘢加埋先至可以做到呢行
㗎。南丫島首選，第二就蒲台島一帶，去
this industry.” 到螺洲、宋崗、蒲台、橫欄島。整個南

P.37
丫島漁場都好豐富，石排灣至圓角。做季

Red tides are fatal to mariculture. The red tide
that happened after the handover of Hong
Kong in 1997 devastated the mariculture
industry. Nearly all cultured fish in Sok Kwu
Wan died, rendering many fishers insolvent
and not able to invest in new fries. Besides,
farming fish takes time. It takes one to three
years for fries to grow to maturity, depending
on the species. The lack of income forced
many fishers to quit the industry. After the
red tide, I farmed a small number of fish while
switching to my fishing business.
I primarily catch seasonal fish by purse
seining with lights during the third and the
fourth lunar months. I can set off as late as
on my six boats and the main vessel before
dropping a purse seine under each light spot.
And these seines should have enough catches
by daybreak. I then sell the catches to the
fish collectors in Tin Wan, Aberdeen, before
refilling the supplies (ice, freshwater, and fuel).
Eventually, I berth my boats by my raft.
Practising only nocturnal fishing now, I do
purse seining with lights in some seasons
while depending on sonar in other seasons.
One needs to know the fish habits and
sea current to survive in this industry.
Nevertheless, Lamma Island is a rich fishing
ground. In summer, the southwest wind carries
abundant fish to Shek Pai Wan, where they can
Also, Lamma islanders are generous
to fishers. They will always invite us to
shelter at their restaurants when there is
a typhoon. As it usually takes more than
a few hours for a typhoon to land, the
restaurant owners even serve us food.
Their generosity reveals the profound
human touch of the islanders to the fullest.
That’s why I pay a lot of respect to
them and always greet them whenever
we cross paths.

Water People
5:30pm because night falls at around 6pm stay for days to feed. Therefore, the island is
during this time of the year. Once I get to always my go-to spot for fishing, while Po Toi
水面人

the suitable waters, I switch on all the lights Island ranks second.
南丫說 : 水面人 以 前 啲 漁 船 多 數 泊 晒 喺 呢 啲 位（ 鹿 洲 灣 海 去賣魚嘅，以前啲村好多人住㗎，一

Lamma Mia
Water People 灘 對 出 ）， 六 、 七 十 年 代 嗰 陣 時 ， 呢 度 冇 籮籮咁捧上去叫佢哋落嚟買囉。
漁棚嘅，嗰時大約有十零廿部漁船，燈光
圍網漁船多，有啲蝦艇呀，有啲拖船，不 我老豆嘅年代識得村長，會問佢：「唏，
過都係好細隻，喺呢度附近做，出唔到大 有冇啲番薯呀，有冇啲菜種到呀？」
海嘅，就算有機動嘅時候啲漁船都係好細 買啲瓜菜返落船食，我哋又賣番啲魚畀
隻，一大風浪你出唔到去㗎，又扒唔郁又 佢 ， 同 佢 交 換 囉，有 啲 唔 使 計 錢 嘅 ，
棹唔郁，吹大西南風呢，你去到黃竹角， 就咁換就得㗎喇，譬如我畀咗十零斤魚
一轉出嚟你已經搖唔過呢個彎位㗎，我哋 你食，你就畀番咁上下菜呀、瓜呀畀我
向北邊近岸啲位做，最遠去到榕樹灣，經 哋囉，有時傾得埋，變咗熟絡咗囉。
北角村去。
蘆荻灣有一個位有罾棚（見P.112）
，到七十
鹿洲天后廟對出，同埋蘆荻灣附近，最多 年代都有喺度，屬於蘆荻灣啲村民嘅，
魚，通常做夜晚，黃昏日落一路沿住岸邊 同漁民間中都有啲磨擦嘅，蘆荻灣有
睇下邊度有魚，夜晚喺海底會發光嘅，啲 一個村民我哋都好熟㗎，佢整茶粿嘛，
魚成群一走，水光反射出嚟有光影嘅， 我哋都同佢買，佢都係做罾棚嗰班 人 嚟
用浮水圍網捉囉。捉到魚都係過番香港仔 㗎，都有解決方法嘅，咪傾吓囉。

P.39
Michael
賣，或者上村賣，北角村、鹿洲村我哋都

Michael，五十多歲，南丫島漁民， Michael, now in his 50s, is a fisher running
在索罟灣經營漁排，漁業式微下， a mariculture raft in Sok Kwu Wan. As
兩年前停止漁船作業，專心打理漁 the fishing industry declined, he stopped
排。受訪那天，他輕鬆瀟灑地駕著 his fishing business two years ago,
小船，帶我們到鹿洲灣聽他講自己 concentrating instead on his raft. On the
的故事。 day of the interview, he sailed his boat
relaxingly and took us to Luk Chau Wan to
tell his stories.
In the past, most fishing boats anchored here
(along the beach of Luk Chau Wan). There
were not yet mariculture rafts in the ’60s and
’70s but about 10 to 20 fishing boats: most
were purse seiners, with some trawlers. They
were too small to operate far from ashore;
even when they were motorised, they couldn’t
overcome wind waves in the ocean. On the
days under the southwest wind, the boats
would be so shaky that they could never pass
Wong Chuk Kok. We mainly fished by the
northern coast, sailing as far as Yung Shue
Wan through the route along Pak Kok Village.
The water outside Luk Chau Tin Hau Temple
and Lo Tik Wan is a rich fishing ground. We
the sea at night. We would sell our catches
in Aberdeen or walk up to the villages,
Pak Kok Village and Luk Chau Village.
There used to be a lot of people living in
these villages.
My father knew the village heads quite
well. Hence, he would ask them, “Hey, have
you got any sweet potatoes or vegetables?”
We would buy vegetables from them while
selling our catches. Other times, we would
trade on barter instead. For example, we
would exchange ten catties of fish for an
equivalent value of vegetables with them.
Eventually, we got acquainted with
one another.

Water People
usually did purse seining at night. We would
sail along the coast at dusk to find the fish. The There used to be a lift net in Lo Tik Wan
水面人

reflection from their scales would glimmer in until the ’70s (see P.112), which belonged
南丫說 :
「捉到魚，或者上 村 賣 ， 養魚最早期我哋喺香港仔田灣海面養，都 發，幾隻船仔一齊搖埋岸邊，一齊衝上岸

Lamma Mia
係一個漁棚，用嗰啲鐵油桶浮起嘅，用一 邊跑返去學校，鬥快咁樣囉。
買 啲瓜菜返落 船 食 ， 條 大 木 升 起 個 漁 棚 又 試 過，後期先諗到用
我 哋又賣番啲 魚 畀 佢 ， 膠桶方便好多，鐵桶 用 到 咁 上 下 會 生 鏽 穿 以前好多人都咁諗法：快啲讀完個小學，
窿，沉落海底。 就 幫 屋 企 手，以 前 諗 法 唔 會 咁 長 遠 。 有 試
同佢交換囉。」 過 上 岸 打 工 嘅 ，不 過 覺 得 打 工 唔 適 合 自
到七幾年嗰時，話唔准喺避風塘養嘞，通 己，變咗選擇落番漁棚，落番船度囉。同
“We would buy vegetables 知我哋要過南丫島呢邊，我哋咪成個漁棚 年紀嘅同學好多出晒去住喇，仲有十個八
拖去索罟灣囉，嗰時鹿洲未有養魚區， 個 喺 呢 度（ 索 罟 灣 ）住 嘅 ， 而 家 海 味 舖 個
from them while selling (1987年 ) 成 立 咗 養 魚 區 ， 我 哋 又 整 多 一 兩 老闆咪同我同年囉。
our catches. Other times, 個漁棚喺鹿洲（即蘆荻灣養魚區） ，開始喺
鹿洲又養，索罟灣又養，兩邊走。以前熨 我係屬於南丫島嘅人，我喺南丫島住咗四
we would trade on 波洲嗰邊都有漁棚㗎，政府將嗰邊移居埋 十幾年，覺得自己係南丫島一份子嚟，就
barter instead.” 嚟呢邊，變咗鹿洲就多咗漁棚嘞。 算榕樹灣嗰邊有節目，我都會參與嘅，走
埋一齊去高興下，尤其是龍舟賽事，一定
我 過 嚟（ 索 罟 灣 ）讀 二 年 班 ， 讀 到 小 學 畢 要參與添啦。
業，嗰時漁民都有二、三十個小朋友一齊

P.41
喺蘆鬚城學校讀㗎，返學同一時間一齊出

to the villagers there. Sometimes the fishers
and the villagers had quarrels while fishing
by the shore. However we became acquainted
with one of the lift net villagers as we often
bought steam buns from him. Clashes could
be resolved if we just talked it out.
We first started to farm fish in Tin Wan,
Aberdeen, with a raft. We tried to buoy it with
drums or stilt it with timbers and then turned
to plastic drums later.
In the 1970s, the government prohibited us
from farming fish in the Aberdeen typhoon
shelter and ordered us to move to Lamma
Island. So, we tugged our raft to Sok Kwu
we have to farm fish in both Sok Kwu Wan
and Lo Tik Wan at a time. There used to be
mariculture rafts around Middle Island, but the
government ordered them to move to Lo Tik
Wan here too. That’s why the number of rafts
increased in Luk Chau.
I studied primary two in Lo So Shing School
since we moved to Sok Kwu Wan. There were
around 20 to 30 fisher children studying at the
school. We went to school by our own boats.
We arrived at the shore at about the same time
and then raced to school.
We did not have foresight back then; most
of us simply thought, “I should graduate as
in mariculture and fishing. Many of my
classmates of the same age have moved
outside for work, with only less than ten of
them remaining here. The owner of the dried
seafood shop is one of my classmates.
I have been living on Lamma Island for
40 years. I belong here, and I feel that
I am a part of it. I also participate in the
events at Yung Shue Wan to have fun
with the people there, especially at the
dragon boat races.

Water People
Wan. Later (in 1987), the government made soon as possible to help out my family.” I
Lo Tik Wan a designated mariculture area. tried to work ashore but didn’t feel right to
水面人

Hence, we set up another raft there, meaning work for others. That’s why I chose to work
南丫說 :
三位本灣人都

Lamma Mia
曾在外邊生活過 ，
各有不同緣由
回來本灣，
都找到了自己
在這裡生活的意 義 。

Three bay people

returned to ‘the bay’
after years of living
outside. They have
different reasons to be
back, but the good thing

P.43
is they are all now happy
with their choice.

本灣人
今日的「本灣」。對岸左起：打水灣、索罟灣、
涌尾。近右處為蘆鬚城和已廢棄的夾板廠遺址。
‘ The Bay’ today. From left, Ta Shui Wan, Sok
Kwu Wan and Chung Mei. Lo So Shing and the
abandoned splint factory are near to the right.

Bay People

Bay People
本灣人
南丫說 : 所 謂 「 本 灣 人 」， 跟 「 本 地 人 」 意 思 Bay people refers to the local inhabitants

Lamma Mia
相同，即在當地居住的人。用了「灣」 around Sok Kwu Wan. Wan means ‘bay’
這個字，大家便意會是指環繞索罟灣 in English, so clearly they are identifying
的地方，不過，客觀上是指哪些地 themselves with the bay as its name implies.
方？似乎有點含糊了。毋須介懷，這 While how to demarcate Sok Kwu Wan is
是一個主觀的語言，雖然不是人人都 open to interpretation, when asked how they
用這詞語，但問到何謂「本灣人」 understand this term, they all refer it to the
時，大家都明白是指這個社區的人， community around Sok Kwu Wan who would
是在本灣往來出入，見面會互相打招 greet one another warmly when they cross
呼，知道他/她是誰家的孩子，誰是 paths, know each other’s families well and
他/她的阿爺、阿嫲、阿爸、阿媽， are happy to share their everyday life with
只要一問，定必有人告訴你他/她剛才 one another. Here are the stories of three
在哪裡在做什麼，這就是自稱本灣人 bay people. They are no descendants of
的意思。我們將三個故事組合一起， indigenous villagers, but were born and raised
三個人的父母都不是原居民，但他們 in Sok Kwu Wan and were so used to the
都 在「 本 灣 」出 生 ， 習 慣 了 這 種 親 切 的 social environment here that they returned to
社區關係，他們都曾在外邊生活過， ‘the bay’ after years of living outside. They have

P.45
各有不同緣由回來本灣，都找到了自 different reasons to be back, but the good thing
己在本灣生活的意義。 is they are all now happy with their choice.

上：蘆鬚城學校的學生，約於1960年代初前往黃竹坑巴黎農場旅行。
（相片由胡國統先生提供）
Up: A school trip to Paris Farm in Wong Chuk Hang by the students of Lo So Shing School in the ’
60s.
(Photo provided by Mr Peter Wu)

Bay People
下：1979年的天后廟。昔日至今，天后廟外一直是小孩聚集嬉戲的地方。
本灣人

（相片由政府新聞處圖片資料室提供）
Down: Tin Hau Temple in 1979. Kids always have fun in its forecourt from then until now.
(Photo provided by the Photo Library of the Information Services Department)
南丫說 : 本灣人 我老竇經營呢間舖，乜都有得賣，成隻 雞蛋，如果攞自己舖頭啲雞蛋驚阿媽

Lamma Mia
Bay People 豬買番嚟，豬頭、豬頸、豬腳斬開賣； 鬧，哈哈哈。
蔬果、西瓜、雞蛋、鹹酸菜，細眉細眼
到神枱燈、神枱杯、鋸、釘、插蘇頭、 我阿哥大個啲，佢哋有另外一班人，
螺絲批、碗筷、掃把、地拖、遮、衣架、 出去釣魚、掘沙蟲、掘蜆。大個嗰啲
鑊鏟，包羅萬有，類似超級市場。 多數去西灣游水、燒嘢食，即係而家
蘆鬚城海灘。
以前樂聲牌電飯煲蓋有個圓形玻璃，我哋
會幫佢換蓋換柄。嗰時冇冷氣，怕焗嗰啲 大人鍾意打麻將。朝早七點鐘，老人
就去碼頭瞓，抬張帆布床，第二朝天光起 家坐埋嚟講下八卦嘢，湊夠腳就打麻
身就返屋企，所以我哋有帆布床賣。 將，齊腳就一枱，我哋舖頭以前有
七、八副麻將喺度，漁排退咗休嘅老
我哋街童嚟㗎，超級開心，成班細路仔十 人家，冇嘢做咪上嚟打麻將囉。
個八個，通街玩，去下沙灘，游下水。嗰
時我哋最鍾意去偷番薯，打水灣以前有人 每年天后誕做大戲好開心㗎，細路仔
種番薯，執個月餅罐，掘個窿，執啲柴 捐上後台睇花旦化妝，出面啲人入嚟專
賴小姐 執啲草，落沙灘煨番薯，煨完番薯就焗 做神功戲生意，賣木劍、羽毛扇、小玩

P.47
Ms Lai
雞蛋，幾個細路仔夾幾毫子去燦記買幾隻 具、風車，又有車仔雪糕，即係半溶嗰

賴小姐，四十多歲，索罟灣土生土長， Ms Lai, now in her 40s, was born and
父親開設位於最靠近碼頭的士多， raised in Sok Kwu Wan. She was brought
養育了賴小姐四兄弟姊妹。幾年前 up in a family with a store standing at the
賴小姐和妹妹從市區回來，接手家 corner near to the pier. A few years ago, Ms
庭生意，亦繼承了父親對社區的關 Lai and her sister returned to the island to
懷之心。 take care of the family business. Besides,
they also inherit from their father the
concern and affection for the community.
My dad’s store was like a supermarket. It sold
all kinds of stuff: from pork, fruits, vegetables,
eggs, and pickles to altar lamps, cups, household
utensils, and tableware – you name it.
In the past, we also provided replacements
for the glass lids of Panasonic rice cookers.
Air-conditioners were not common back then;
people would sleep overnight at the pier where
it was cooler. Hence, we also sold camp beds
in our store.
We were ‘street kids’. We would run around
the streets or swim along the beach in a group,
and it was real fun. We liked to simmer sweet
potatoes and bake eggs the most. People in
Ta Shui Wan used to plant sweet potatoes.
baking eggs. A few of us would chip in to buy
eggs at Tsan Kee Store as our mom would
scold us if we took them from our store.
Our elder brother played with a group
of older kids. They would go fishing,
digging sandworms, and clams, while
adolescents would go swimming and
barbecue in West Bay, which is now
known as Lo So Shing Beach.
The adults liked to play mahjong. The
elders would gather at 7am to chit chat.
Once there were four of them, they would
start playing mahjong. We used to have
seven or eight sets of mahjong for the
oldies to play at our store.

Bay People
We would make a fire with firewood and grass
本灣人

to simmer them in a mooncake case before

南丫說 :
「我哋街童嚟㗎， 啲，但係我覺得好好食，麥芽糖、鹹酸李 就行出來我哋舖頭打電話喇。我哋嗰時會

Lamma Mia
仔、酸木瓜，擺滿晒好多㗎。 係咁樣囉。
超 級開心，成 班 細 路 仔
十 個八個，通 街 玩 ， 大人都係好開心，去咗外國嗰啲都特登飛 呢幾年多咗新來港嘅女性，我自己嘅宗旨
返嚟，佢未必著重個節日，佢著重大家見 就 係 ， 幫 到 你 就 幫 。 好 似 嗰 陣 佢（ 一 位 新
最 鍾意煨番薯 焗 雞 蛋 。 」 番面，聚下舊。我阿媽細個喺蘆鬚城讀小 來 港 婦 女 ）個 細 女 好 細 ， 唔 方 便 帶 埋 個 細
學 ， 佢 啲 同 學 仔 係 鹿 洲 村 、 陳 家 村（ 即 蘆 女出去接大女放學，落大雨嘛，要搭船出香
“We were ‘street kids’. 鬚 城 ）嘅 人 ， 佢 哋 感 情 好 好 ， 就 算 冇 移 民 港仔，「咪擺個細路喺度囉，冇問題呀！」
都唔係成日見面，大家好想見番對方。 佢大女啲英文唔得嘅，我叫佢：「唔識就落
We ran around in a group, 嚟問啦，我識嘅就教你啦。」
and it was real fun. 我屋企七十年代已經有電視、電話，好
緊要㗎，一開電視呢，成班街坊坐晒喺 我 表 姐 佢 阿 媽 啱 啱 過 咗 身 ， 諗 住（ 將 骨
We liked to simmer sweet 度 ， 睇《 網 中人》大 結 局 嘛 。 個 電 話 呢 ， 灰 ）擺 喺 呢 度 嘅 骨 灰 龕 （ 南 丫 島 靈 灰 安 置
potatoes and bake eggs 我哋個number（號碼）好易記好順口，啲人就 所） ，佢阿媽同我阿媽同一個太公，都係本
the most.” 會打嚟，「喂，我想搵勝叔呀。」 「哦，勝叔 灣水上人，所以佢哋都想葬喺呢度。我第日
呀，轉頭叫佢打番畀你呀。」咁就行去勝叔 都想葬返嚟，我阿媽、阿哥都葬喺呢度，我
屋企，「喂，勝叔呀，乜乜乜搵你呀。」佢 老竇都講低咗，佢第日都葬喺呢度。

We rejoiced at the opera performances during
the Tin Hau Festival. Kids would hide in
backstage to sneak a peek at the performers
while they were putting on their makeup.
Hawkers from the outside would come in to
sell props, toys, malt sugar, pickled fruits, and
ice-cream. Although the ice-cream was always
half-melted, I still found them delicious.
The adults were also delighted about it. Even
those who had moved abroad would fly back
during the Festival to enjoy the reunion with
their families and friends. My mom studied
in Lo So Shing School. Although most of her
classmates were from Luk Chau Village and Lo
So Shing, they were close to each other. Even
though they didn’t get to meet often, they
In the ’70s, my family installed a television set
and a phone in the store. They were rare items
back then. Many villagers would come by to
watch TV together. I still recall watching the
last episode of The Good, The Bad And The
Ugly vividly. Our phone was also very popular.
We would receive calls like this: “Hey, put me
through to Uncle Shing.” “Oh, Uncle Shing
is not here; he will call back later.” We would
then walk to Uncle Shing’s house and tell him,
“Hey, Uncle Shing, there was a phone call for
you.” He would walk to our store to make the
return call.
In recent years, I notice that more female
immigrants have moved to the island. I am
willing to help these women as much as
P.49
to Aberdeen to pick up her elder daughter
from school. So, I told her, “You can leave
your kid here. It’s alright!” When I knew
that her elder daughter was not good in
English, I told her, “Just bring her in, and
I can teach her.”
My cousin’s mother passed away recently.
Since her mother was a descendant of
the water people here, she has planned
to bury her mother’s cremains in Lamma
Columbarium, like my mother. I want to
be buried there alongside my mother and
brother; my father has made the same
will, too.

Bay People
would always yearn to see one another. possible. For instance, she (an immigrant)
本灣人

could not carry her younger daughter along

南丫說 : 本灣人 我鄉下喺順德，有祠堂、祖屋，自己對鄉 覺，坐個幾鐘頭出到香港，七點零鐘

Lamma Mia
Bay People 下都係有感情，但我喺索罟灣出世，南丫 行上荷里活道返學，有時阿爺帶、有
島梗係我另一條根啦。 時阿媽帶，幾咁辛苦。之後讀小一就
搬返出中環住，禮拜六、日返嚟南丫
以前屋企住中環，阿嫲體弱多病，想搵鄉 島住下。
郊地方養病、養老，當時中環同索罟灣
好 密切，好多人出中環買菜買米，阿爸喺 屋企三代人都係做木匠，阿爺、阿
西營盤一帶打滾，可能聽到南丫島消息， 爸、我，我就係半個木匠啦，細細個
就同人買咗間爛嘅石屋畀阿嫲住。呢間屋 跟住佢學吓嘢，做櫃呀、做床呀。但
原址係人哋 用 來 做 發 芽 菜 ， 阿 爸 睇 到 有 條 時代變，木匠搵唔到食，就要多元化
山坑覺得鍾意，就同村民傾，買咗之後向 啲，地盤、建築樣樣都做。我出身後
政府轉名，屬於我哋嘅祖屋。後來阿爸喺 周圍跟師傅學師，好多行都有，做木
榕樹灣識到阿媽，結咗婚，喺索罟灣呢度 工、水電、油漆、泥水，泥水主要跟
生我。 索罟灣啲阿叔。做吓做吓，阿爸提議
正正式式開間裝修公司，初初喺中環
平日讀書搭船真係好唔方便，朝早五點起 成立，後來到我廿歲頭搬返嚟南丫
談錦添 身都係矇查查，六點落到頭班船都係瞓 島，就喺呢度開舖頭做老闆。

Tam Kam-tim
談錦添，四十多歲，在索罟灣開設 Tam Kam-tim, now in his 40s, runs a
工程公司，在街上時常見到他駕著 construction company in Sok Kwu Wan.
VV車¹ 穿梭，運載水泥和工程物資 Often seen driving his village vehicle1
到各村工作；他亦參與鄉委會，協 transporting cement and construction
助籌辦南丫島南段的社區工作，例 materials around villages, Tam is also
如天后誕、龍舟比賽等。 engaged in the Rural Committee,
organising Tin Hau Festival, dragon boat
races and other community activities in
South Lamma.
My family originates from Shunde, where we
have an ancestral hall and houses; I see that
place as my hometown. However, as I was
born in Sok Kwu Wan, I see Lamma as my
second home.
My grandma used to live in Central, but she
was weak and often fell ill. Hence, she wanted
to live in the countryside. Sok Kwu Wan was
closely connected to Central as many islanders
would travel there for necessities. My dad, who
worked in Sai Ying Pun, had probably learned
some real estate tips from the islanders; he
eventually bought my grandma a shabby
house on Lamma Island. The house was
originally a bean sprouts field. My dad fell in
love with the stream beside that house and
P.51
place became our ‘ancestral’ house. My
dad met my mom in Yung Shue Wan. After
getting married, my mom gave birth to me
here in Sok Kwu Wan.
It was a hassle to go to school by ferry. I
had to wake up at 5am for the first ferry at
6am. I would always nap during the hour-
long ferry ride to Hong Kong Island. By
7am, I would be walking up to my school
on Hollywood Road. Either my grandpa or
my mom would accompany me to school,
but it was tiring nevertheless. I moved to
Central in primary one, and would then
return to Lamma Island during weekends.
My grandpa and my dad were carpenters. I

Bay People
purchased the land from the villagers. After am really about half a carpenter as I learnt
本灣人

obtaining approval from the government, the how to build cabinets and beds from them
南丫說 :
「決定返嚟 南丫 島 做 工 程， 當初決定返嚟南丫島做工程，因為鍾意呢 幫 我 公 司 手 做 嘢 個 group（ 群 組 ）有 十 零 個 媽娘咁多年來真係保佑我哋，順順利

Lamma Mia
度，喺外面做嘢係緊張啲，日日夜夜都 男人，五、六十歲，三、四十歲，廿零歲 利，有求必應，我個心都好敬重佢，
因 為鍾意呢度 ， 要 做 ，半 夜 三 更 爆 水 喉 未 瞓 醒 都 要 起 身 去 都有，都算係帶動到一班人，圍威喂。呢 好願意幫佢做事，大大小小嘅事盡我
喺 外面做嘢係 緊 張 啲 ， 做 ， 呢 度 自 由 啲 ， 冇 出 面 咁壓迫，交通運 個人無嘢做，嗰邊地盤等人用，就叫佢過 能力做。我希望傳承畀後生一代，老
輸材料上雖然唔方便，但自己做開呢行， 去幫吓手，咁樣穿起啲人脈，急起上來都 人家走吓少啲、走吓就冇，拜神嗰啲
呢 度自由啲， 出面中環有朋友可以幫我寄貨落船，省卻 有人用，啲人又可以不停咁開工運作。 教得你幾多得幾多，我呢代之後有十
冇 出面咁壓迫 。 」 咗時間出出入入，做 下 做 下 順 暢 咗 ， 就 喺 幾年斷層，而家慢慢帶番啲廿零歲後
度紮根。 入咗嚟開工之後，一路有參與幫手做下公 生仔，落手落腳，將來都係佢哋，交
“I moved my business to 家事務，媽娘誕安排搭戲棚、洗吓地、掛 畀佢哋。
初初我哋做來做去都係啲村嘅街坊生意，榕 吓旗，立立雜雜，一為神功，二為弟子，
Lamma because I love this 樹灣個表哥就多啲接政府工程，會 叫 埋 我
place. Unlike the tense 幫手，例如水電、電話鋪纜、掘路、撈石
屎等。我公司請工人係呢度本灣多，如果
working environment 我呢度唔夠人，就會打電話畀榕樹灣個表
in the city, it is less 哥搵十個八個過嚟幫手。
stressful here.” 1 離島鄉村車，一般用作載貨，車身細小，適合行走狹窄村路。

when I was a kid. But times have changed
as one can’t live on carpentry only. I must
learn more skills to survive. I learnt carpentry,
electric and plumbing works, paintwork from
various masters, and plastering work from my
uncle; hence, my dad suggested to me that I
should set up a construction company. I started
the company in Central and finally moved it to
Lamma Island.
I moved my business to Lamma because
I love this place. Unlike the tense working
environment in the city, it is less stressful
here as I don’t need to work around the clock.
Though I am always on the island, my buddies
in town always load and ship materials for me,
saving me a lot of time. My business gradually
In the beginning, my customers were mainly
the islanders. My cousin in Yung Shue Wan
primarily worked for government construction
projects, so he asked me to help with electrical
and plumbing works, laying phone lines,
digging roads, and mixing concrete. My
company hires primarily islanders here in
Sok Kwu Wan. But I would ring my cousin
for helping hands from Yung Shue Wan
when necessary.
Now working for me is a team of local men
aged between 20 and 60. Whenever there are
orders, I will arrange them to work here or
there. While they can secure an income, I can
also ensure the smooth running of the projects.
P.53
After returning to Lamma, I have been
involved in public affairs, such as logistics
for the Tin Hau Festival and all kinds of
odd jobs, serving both the goddess and the
community. Blessed by the goddess, I have
always been on a roll. Therefore, I should
serve her as much as I can to show my
respect and gratitude. I hope to pass on
the tradition to the younger generations.
I am learning as much as possible from the
elders before it is too late. By passing my
knowledge to the youngsters, I hope they
will be able to continue these traditions
in future.

Bay People
got on track, and I am rooted here now.
本灣人

1 A type of light goods vehicle that is suitable for the narrow roads on the outlying islands in Hong Kong.
南丫說 : 本灣人 公 公 婆 婆（ 外 祖 父 母 ）係 索 罟 灣 水 上 人 ， 讀書，六、七個人，每朝搭七點二十

Lamma Mia
Bay People 後來婆婆去英泥廠打工，儲到少少錢，就 分船出去，三點幾放學，一齊去鴨脷
喺索罟灣搬上街住。我出世後，佢哋已經唔 洲大街圖書館做功課，跟住搭卜卜仔
再經營漁排維生，改為揸「卜卜仔」 （裝上 返香港仔，再搭四點半船返嚟，唔使
馬達的小型機動舢舨）載外國客環島遊， 大人湊，以前父母好放心小朋友一齊
或者載客出入香港仔，舅父亦由漁民改 玩，但經過十幾年轉變好大，而家唔
行 喺陸上揸VV車。聽婆婆講以前索罟灣 會再有呢個景象，小朋友冇機會喺南
漁排密密麻麻，關係好融洽，就算上咗 丫島讀書，好多都由父母湊住出入，
街（ 在 岸 上 居 住 ）都 唔 會 疏 遠 咗 ， 一 代 傳 感覺呢一代少咗我哋以前嗰種融洽。
一代，到我哋呢代孫，都係一齊喺索罟灣
成長。 讀中學時搬咗出去市區喺表哥屋企
住， 因 為 出 入 辛 苦 ， 返 八 點 鐘 學 ， 搭
媽媽細個喺蘆鬚城學校讀小學，之後再 頭班船太早，搭第二班船又會遲到，
轉去中環讀書，佢話最辛苦係冬天搭船 但喺出面住好孤單，啲朋友喺晒索罟
返學，朝早煲水用樽仔入起熱水，擺喺心 灣，純粹放學返屋企做功課，做完功
口保暖。本來我都想喺蘆鬚城讀小學，但 課就自己諗食乜嘢，跟住瞓覺，第
子揚 好不幸殺校，媽媽就送我去鴨脷洲讀南區 二 朝 又 返 學 ， 不 停 重 複 呢 種 生 活，冇

P.55
Tsz Yeung
官立小學，同埋呢度啲街坊小朋友一齊 咩趣味，又唔知隔籬屋、樓上樓下係

子揚，二十多歲，在索罟灣長大， Tsz Yeung, now in his 20s, grew up in Sok
曾搬到外面居住和工作，後來選擇 Kwu Wan. He once moved to live and
回來南丫島做工程學徒，並且積極 work in the town but returned to Lamma
參與籌辦島上大大小小活動，希望 to be trained as a construction worker.
能夠傳承索罟灣的傳統文化。 Participating actively in the organisation
of community events, Tsz Yeung hoped
to pass on the traditional culture of Sok
Kwu Wan.
My grandparents were water people from Sok
Kwu Wan. As my grandma had worked in a
cement factory and saved up some money, my
grandparents eventually moved ashore in Sok
Kwu Wan. When I was born, they had already
quitted mariculture. Instead, they used their
sampan as sightseeing boat and water taxi; while
my uncle became a village vehicle driver. My
grandma said that the mariculture rafts in Sok
Kwu Wan used to be densely packed, on which
the water people lived in harmony. They kept
in touch with each other even after moving
ashore. That’s why in my generation, I grew up
with children of water people.
My mother graduated from Lo So Shing
School before studying secondary school in
keep warm on the ferry. I wanted to study
in Lo So Shing School as my mom did, but
as the school was closed down, my mom
sent me to study in the primary school in
Ap Lei Chau together with other children
from Lamma. We would take the kaito
ferry at 7:20am to school and do homework
together at Ap Lei Chau Public Library
after school, before taking the kaito ferry
back to Lamma at 4:30pm. The adults
didn’t have to worry about us because we
always acted as a group. But things have
changed now. Kids on Lamma now always
go with their parents with less chance to
enjoy companionship as we did in the past.
I moved into my cousin’s place in town

Bay People
Central. She recalled that during winter, she when I was in secondary school because it
本灣人

held a hot water bottle against her chest to was too demanding to take the first ferry to
南丫說 :
「做義工幫手籌備 賀 誕 ，
搭 戲棚、上紅 榜 、
龍 舟禁忌，
我 自己土生土 長 ，
唔 想呢啲嘢被 淡 忘 。 」
“I volunteer to assist in
festival events and learn
how to build the bamboo
theatre, hang banners,
and prepare for the
dragon boat race during
the Tin Hau Festival.
As a locally-born islander,
I don’t want these
traditions to fade away.”
本灣人
邊個，因為陪伴住我成長係左鄰右里，
有一家人嘅感覺，但出去住真係完全冇，
打開門見到隔籬屋，係唔會同你打招呼，
但 呢 度 個 個 會 講「 早 晨 呀 」、「 食 咗 飯 未
呀 」、「 今 日 捉 到 啲 乜 嘢 呀 ， 過 嚟 一 齊 食
啦」，呢種感覺好溫暖，勝過一切。
畢業後想做消防，因為鍾意幫人，但考唔
到嗰下真係晴天霹靂，唔知點好，好在
索 罟 灣 有 朋 友 搵 我 去（ 島 外 ）開 工 ， 開 始
對工程產生興趣，做完嗰單工程之後，要
自己去搵其他師傅夾，冇人帶住完全唔
識 做 ， 於 是 返 嚟（ 索 罟 灣 ）搵 添 叔 傾 ， 由
零開始學，揸VV車、做沙井、釘板、紮
鐵、裝冷氣、做防漏，你知索罟灣啲街坊
壞冷氣、壞插蘇、爆水喉，有咩事就打畀
你，所以瓣瓣都摸過。
get to school by 8am every day. However, I felt
lonely as all my friends were in Sok Kwu Wan.
Every day repeated itself: I went to school
in the morning, returned home after school,
finished homework before preparing dinner
myself, and then went to bed. Unlike living on
Lamma, I didn’t know my neighbours at all,
let alone greeting one another. That made me
realise that the companionship of my villagers
and friends is priceless.
After graduation, I aspired to be a firefighter.
I was disoriented after failing the admission
test. Luckily, my friends from Sok Kwu Wan
asked me to help in a construction project in
town; I then became interested in this trade.
After that, I decided to learn more skills in
this direction. So, I returned to Sok Kwu Wan
to seek help from Uncle Tim. I learned many
喺島上工作成日周圍去，睇到每條村嘅面
Lamma Mia
貌，去到東澳以為去咗馬爾代夫，不過感
覺落後少少，乾旱會冇水用，我同添叔有
時拎桶水畀村入面個婆婆用，等佢唔使自
己擔水咁辛苦。
細個睇得多天后誕龍舟比賽，覺得好型，
但唔知點參與，同埋爸媽唔畀玩水，大個
返嚟跟添叔佢哋操龍舟，之後去埋做義工
幫手籌備賀誕，點樣搭戲棚、上紅榜、龍
舟有乜嘢禁忌，我自己土生土長，唔想呢
啲嘢被淡忘，為個灣出少少力都好呀，就
算第時成家立室，要出去外面發展，都會
繼續關心呢個灣，請假返嚟幫手。
P.57
construction skills from scratch from him events and learn how to build the bamboo
and other general techniques by helping theatre, hang banners and prepare for
the villagers. the dragon boat race during the Tin Hau
Festival. As a locally-born islander, I don’t
I have worked in different parts of the island want these traditions to fade away. I feel
and enjoyed the sceneries of the villages. obliged to contribute to my homeplace. If
Though it is slightly underdeveloped and I moved out of the island after marriage, I
often short of water in drought seasons, would come back to help and care for Sok
Tung O Village is like the Maldives to me. Kwu Wan like now.
Sometimes, Uncle Tim and I would carry
buckets of water for the granny there to save
her the hassle.
I always watched the dragon boat race during
the Tin Hau Festival and developed an interest
in it when I was a kid, but it was until Uncle
Tim introduced me to the dragon boat team
Bay People
that I became one of the team members a few
years ago. I also volunteer to assist in festival
南丫說 :
在同一處地方生 活 ，

Lamma Mia
只要有心，
差異是可以跨越 的 ，
大家總會找到
溝通的方法。

There are always ways

to bridge the gap if
everybody living there is
open to communication.

P.59
外來人
某一個炎熱的晚上，住在索罟灣的小朋友巧遇明星，立即起哄要來一張合照。
（圖片由Simon Cheung 提供，攝於1980年代初）
Kids having a photo with a pop star they bumped into on a hot night in Sok Kwu Wan.
( Photo taken in the early 1980s and provided by Simon Cheung)

Incomers

Incomers
外來人
南丫說 : 何 謂「 外 來 人 」， 可 以 說 是 相 對 於 原 The Lamma islanders name those who move

Lamma Mia
居民而言，然而，原居民的祖先也是 in from outside as ‘incomers’. But what exactly
從廣東、從香港移居過來，只不過他 does it mean by incomers? Some islanders are
們比英殖民地政府早到達，才被冠以 regarded as indigenous inhabitants simply
原居民的身份。那麼，住了三十年、 because their ancestors had moved from
五十年、八十年的，仍然是外來人 Guangdong or Hong Kong Island to Lamma
嗎？其實所謂外來人也是一種主觀身 before Hong Kong was ceded to the British.
份意識，有些人住了很久，日出而作 Hence, perhaps what ‘incomers’ connotes is
日入而息，將這裡只視作一個住處； just a matter of time. Some native inhabitants
有些人住了沒多久，樂意與街坊打 would move to the city to improve their
開 話 匣 子 ， 區 內 ／村 內 發 生 甚 麼 事 都 livelihoods, whereas there are incomers who
出來幫手，與大家產生了互動，外來 are willing to devote their time and energy to
不外來，也是毋須介懷的。誠然，外 improve the environment of the island and
籍居民在語言、文化、生活習慣的 treat it as their homeplace. It is true that some
差異下，的確需要多費心神與村裡 incomers may have to take the initiative to
人打交道，時有誤會或磨擦毫不出 integrate with the locals, due to language and/
奇，不過，在同一處地方生活，只要 or cultural differences. It is not surprising that

P.61
有心，這些差異是可以跨越的，大家 clashes and misunderstandings may occur
總會找到溝通的方法。 from time to time, but there are always ways
to bridge the gap if everybody living there
is open to communication. After all, ‘locals’
or ‘incomers’ are nothing more than
subjective identities.

1959年7月11日《大公報》。
Ta Kung Pao, 11 July, 1959.

Incomers
外來人
南丫說 : 外來人 入嚟南丫島住係機緣巧合，我讀理工學院 融洽、好純樸㗎。

Lamma Mia
Incomers 夜校設計系，遇到一班同學好活躍嘅，有
人提議搵個地方，幾個讀設計系嘅一齊研 同本地人會點下頭、打下招呼，佢哋
究下，希望搞下活動，有人提議入嚟南 鍾意打牌，我哋鍾意行山游水釣魚，
丫島，因為呢度租好平喎。第一年淨係嬉 唔係咁多同佢哋玩埋一齊。但係啲本
戲，假期先入嚟行下山，水上活動，第二 地小朋友就同我哋好熟，好鍾意嚟我
年呢班同學各散東西。因為我鍾意呢度， 哋度玩，自由出入嘅，夜晚有時啲細
游水、行山、釣魚好啱我，我就繼續租， 路喺度玩到咁上下瞓著咗，佢阿媽搵
但係一個人好重皮喎，開始同啲朋友夾 仔就嚟我度搵囉，哈哈哈。
份 ， 三 個 人 一 齊 租 。 1980年 ， 我 正 式 開 始
住喺南丫島喇。 以前日本仔掘咗啲山窿，我哋上到半山
就發現，啲山窿兩邊通嘅，一邊係望
周圍環境以本地人為主，原居民係本地人 住個海嘅，應該係軍事放哨用，啲窿
啦，外面搬入嚟住嘅都住咗好耐，都算咗 係日本軍要本地人掘嘅，我同本地人
佢哋係本地人。嗰陣時魚排好多㗎，大部 傾過，有啲伯伯嚟掘過，早出晚歸，
分水上人住喺索罟灣，少部分喺出面住， 唔會虐待佢哋，幾斤米畀番佢哋添。
我同佢哋傾偈，即刻知道佢哋係水上人，

P.63
Simon
佢哋對水面好熟，釣魚好叻。我感覺都好 帶埋啲細路去捐山窿，佢哋好鍾意

Simon， 年 青 時 從 觀 塘 搬 入 索 罟 灣 Simon moved from Kwun Tong to Third
第三街，一住二十六年，結婚後搬 Street in Sok Kwu Wan when he was
到涌尾村建立小家庭，至今已十五 young and has lived in Lamma Island for
年。年青時活躍好動，愛南丫島的 26 years. After getting married, he built
大自然環境；年長後喜歡寧靜和新 his family in Chung Mei Village, and it
鮮空氣，愛南丫島慢活的自在。 has been 15 years since then. When he was
young, he was sporty and energetic. He
fell in love with the natural environment
of Lamma Island. As time goes by, he
has become attached to the tranquillity
and fresh air on the island. He holds the
downshifting lifestyle dear.
I moved to Lamma Island by chance. I met
a group of dynamic students while studying
design at the Hong Kong Polytechnic. Some
of them proposed to rent a place to study and
hang out together. Some suggested Lamma
Island for the low rent. In the first year, we
were busy frolicking; we would visit the island
for hiking and water sports during holidays.
But in the second year, the group drifted
apart. Since I liked the island very much, and
swimming, hiking, and fishing were my thing, I
kept renting the place. However, it was such an
enormous burden to bear the rent alone, so I
started to share the place with two friends. In
1980, I officially started living on Lamma Island.
People living on Lamma Island were primarily
locals: some were native villagers while others
there were many mariculture rafts on
the water. Most of the water people lived
in Sok Kwu Wan, though a few lived in
other areas. Whenever I spoke to these
people, I instantly recognised them as they
were familiar with the water and talented
in fishing. I find the community here
harmonious and simple.
The locals liked playing Mahjong while we
enjoyed hiking and fishing. We seldom spent
time together. But we would always greet them
with a nod whenever we met each other. The
local children were well acquainted with us
as we allowed them to come into our place
freely. They loved to hang out at my place.
Sometimes they would have too much fun
and doze off, and their mother would come

Incomers
外來人

had lived here for a long time. At that time, over to look for their kids.
南丫說 :
「本地小朋友好鍾 意 㗎，覺得好神祕，要搵㗎，有啲窿到某個 van仔（ 小 巴 ）， 其 實 都 幾 辛 苦 ， 朝 早 返 工

Lamma Mia
位下面有個大窿，跳過呢個窿先落到下 返學要趕時間，有時遲咗起身，一衝落
嚟 我哋度玩， 面，有啲要搭條板做橋，又要帶電筒，裡 街，哎吔！排晒長龍喺度等車喎，你諗下
夜 晚有時啲細 路 面可能有老鼠、百足，好驚險嘅。 幾心急呀。

玩 到瞓著咗， 以前蘆鬚城海灘有條路，過呢邊有個山 呢度冇呢樣嘢，冇交通出入嗰種壓力，我

佢 阿媽搵仔 窿，而家過唔到喇，呢邊好多大石頭， 而家半退休狀態，覺得好舒服，就係嚮往
就 嚟我度搵囉 。 」 大得好緊要，好巨型嘅。呢度附近有水 呢種生活。就算而家兩個細路返學，佢哋
源，有條瀑布仔，我執到銀仔，係維多利 都習慣咗朝早幾點鐘搭船搭車，佢哋都唔
亞時代嘅，幾仙定一毫，可能係以前漁船 覺得有問題，反而欣賞呢度好寧靜，空氣
“The local children loved 或者本地人去攞水，跌咗啲錢喺度。香港 好，佢哋覺得住南丫島okay（可以）喎。
錢，係銀嚟喎，山上面四圍都有㗎。
to hang out at my place. 我算係南丫島人，對南丫島我熟識過本地
Sometimes they would have 初時住覺得唔方便㗎，限住你幾點起身 人，我鍾意行山露營，所以你問我路，我
搭船，夜晚又唔可以太夜，尾班船走咗 度度都識，因為我行過好多次啦嘛。
too much fun and doze off, 就好麻煩喇，慢慢習慣咗個時間，我哋
and their mother would come 睇準時間搭船，慢慢習慣咗。我哋以前住
over to look for their kids.”

P.65
開市區，覺得人煙稠密，爭上巴士，爭上

In the past, the Japanese dug some caves
around the island, which could be spotted
easily at the hillside. Most of the caves had
two accesses, with one overlooking the
sea. I assume they were used for military
purposes as locals dug them under the
command of the Japanese military. When
I spoke to the locals, a few elders said
they did help in the digging. They worked
early in the morning till nighttime. The
Japanese didn’t maltreat them. They even
gave them a few catties of rice.
The children were passionate about
visiting these caves with me as they found
these spots mysterious. Some of these
caves had a big pit inside. We needed to
jump across these holes to reach further.
we needed to build a bridge with planks to
walk across. And a few of these caves were
pitch dark that we needed to bring flashlights.
Hidden in the shadow might be rats and
centipedes. For the children, these adventures
were thrilling.
There used to be a path leading to a cave
by the hillside near Lo So Shing Beach, but
it is blocked now. Besides the countless
boulders in this part of the island, there was
also a waterfall nearby as a water source.
I once picked up a penny of the Victorian
era there. I supposed a fisherman or a local
dropped it when they came here for water.
These silver coins can be commonly found all
over the mountain.
transportation rather inconvenient as one had Not only do they find no trouble with that,
to stick with the ferry schedule. Besides, you but they also enjoy the tranquillity and
couldn’t stay late in the city; otherwise, you fresh air here. They find it okay to live in
would need to stay out for the night if you Lamma Island.
missed the last ferry. But eventually, I have
gotten used to it. Nowadays, I can catch the I consider myself a native of Lamma now,
ferry unhurriedly. Looking back at my life in as I know the island even better than the
the city, I find the crowded environment and locals. Since I like hiking and camping and
the daily fight for a seat on buses rather harsh. have walked through the island several
In those days, I had to rush to work or school times, I can lead you to any spots on
every morning. Sometimes, if I got up late, Lamma Island without trouble.
I would even feel irritated seeing the long
queue at the bus stop.
I don’t need to cope with this stress and
anxiety now, and I am comfortable with my
semi-retired life here. This kind of life is what
I have yearned for. Even my two kids are

Incomers
外來人

Several of these pits were so large that When I first moved here, I found the accustomed to taking the ferry early to school.
南丫說 : 外來人 我有個舊同學住喺蘆鬚城，我哋曾經討論 我發現潺菜原來好容易種，香港嘅環

Lamma Mia
Incomers 香港嘅住屋問題。我住唔慣高樓大廈，而 境 亦 非 常 適 合 種 番 薯（ 我 主 要 食 番 薯
且我好掛住泥土、樹木、寧靜海灘，同埋 葉 ）、金 不 換 、 香 茅 、 豆 角 、 黃 薑 同
新鮮空氣，所以個同學就邀請我週末嚟南 辣椒。我甚至開始培植獨有嘅辣椒品
丫南段四圍睇下。週末嘅蘆鬚城同索罟灣 種！我唔會嘥錢買膠花盆，亦避免製
擠滿遊客，對我嚟講居住環境唔夠理想， 造更多塑膠廢料，所以我會回收被棄
但當我哋踏入模達村，我就發現呢個地方 置嘅發泡膠箱做花盆，同埋用嚟儲存
好適合我。呢度既遠離繁囂，但又交通方 我自製嘅有機肥料。
便，只要五分鐘就行到街渡碼頭，二十分
鐘船程就去到香港仔。無論任何天氣，你 我好小心盡量唔會令老村民唔開心，
都會發現我坐喺船頭欣賞風景！ 所 謂「 知 易 行 難 」， 始 終 佢 哋 唔 鍾 意
外 邊 人（ 尤 其 係 鬼 佬 ）改 變 村 嘅 生 活 習
以前我習慣喺露台種香草，而家天台嘅空 慣。例如我喺叢林清理垃圾同建築廢
間 就 令 我 有 機會試種更多唔同嘅植物。村 料時，佢哋誤以為我喺度搞事。雖然
裏面有好多老婆婆種菜，我有嘗試跟佢哋 我啲廣東話麻麻地，但都聽得明佢哋
學下點種啲時令蔬菜。只要唔執著於食時令 對我有意見。
蔬菜，要自給自足其實比想像中容易，如果

P.67
David
爭咗邊樣食材，可以隨時去街市補給。

1990年代，年少的David從新西蘭移
居香港。後來，他又作為「第三文化小
孩」（third culture kid）到英國上大學，
但卻一直渴望回到亞洲。2014年，
他找到一份在薄扶林上班的工作，並
在南丫島一棟三層村屋的頂樓安頓
下來。他熱愛於天台種植蔬菜，努力
達至自給自足。目前他食用的蔬菜之
中約有七成是自家種植（因應季節
而定）。
David originally moved to Hong Kong
from New Zealand as a teenager in the
’90s. Having been to the UK for university
as a third culture kid, he desired to return
to Asia. He got a job in Pokfulam, Hong
Kong in 2014. He settled on the top floor
of a three-storey village house in South
Lamma. On the rooftop he now enjoys
farming and working towards vegetable
self-sufficiency, currently harvesting
around 70% of his veggie consumption
(dependent on season).
I had an old school friend living in Lo So
Shing. We discussed at length how poor the
value for money the accommodation in Hong
Kong is. It’s not natural for me to live in a
high-rise building like an ant. I missed mud,
sand, trees, wildlife, quiet beaches and fresh
air after living in the city. So he invited me
over for a weekend to check out the options
on South Lamma. Lo So Shing and Sok Kwu
Wan were not my scene, very busy with
passing tourists during the weekends. When
we walked into Mo Tat Village, it immediately
ticked all my boxes. It’s just far enough away
from everything and still close enough for
everything. It’s located ‘in the middle of
nowhere’, but only a five-minute walk to the
ferry and a twenty-minute ride to Aberdeen.
You can always find me on the front of the
matter what the weather is!
I’ve grown herbs in the past on small
balconies. However, the roof space has
given me the opportunity to explore more
farming options. I noticed many of the
old ladies in the village farming. I have
tried to learn as much as I can from them,
planting seasonal vegetables and fruits.
As long as you are not fussy about eating
local seasonal vegetables, it’s surprisingly
easy to get almost self-sufficient during
certain times of the year. There are always
wet markets if you really miss stuff or can’t
grow enough of your own, like onions
and garlic.
I find that Malabar spinach is super easy

Incomers
外來人

lovely old wooden ferry enjoying the view no to grow, sweet potatoes (I eat the leaves
南丫說 :
「有次我收到電話 ， 我 哋 都 有 唔 少 難 忘 嘅 經 歷 —— 有 次 我 收 到 生仔識得欣賞種植的重要性。

Lamma Mia
電話，話鄰居隻貓畀蟒蛇襲擊，可惜我去
話鄰居隻貓畀畀蟒蛇 到已經太遲，救唔到隻貓，只能夠將佢喺 雖然我係外國人，但我好愛呢條村同呢個
襲擊……條蛇 畀 我 搶 走 蟒蛇口入面拉出嚟，等佢可以入土為安。 小島，亦都當呢個地方係我屋企。我一向
條蛇畀我搶走已經喺口裡面嘅獵物，自然 對島嶼好著迷，好嚮往遺世獨立嘅生活，
已經喺口裡面 嘅 獵 物 ， 唔多高興，佢仲嘗試攻擊我，所以我哋都 我甚至覺得我哋可以透過太陽能、山水同
自然唔多高興 ， 糾纏咗一陣！其實條蛇係冇錯嘅，反而係 近乎可自給自足嘅食物成為可持續發展嘅
佢仲嘗試攻擊 我 ， 我覺得內疚。好彩我同條蛇最後都冇事。 榜樣。喺呢度，我哋擁有同自然和諧相處
其實蟒蛇係好靚嘅生物，係大自然嘅珍 所需嘅一切。
所以我哋都糾 纏 咗 寶，比我哋更有資格住喺森林。
一陣！好彩我 同 條 蛇
我覺得同鄰居嘅相處都幾融洽。有時我會
最後都冇 事。」 幫佢哋收割大樹菠蘿，佢哋亦會請我食生
果 。 其 實 我 哋 生 而 平 等 嘅 —— 例 如 喺 大 熱
天時耕作，我哋都會流汗，我哋都會被蚊
“I got a call that a 釘蟲咬，我哋應該學識互相尊重，畢竟我
哋都一樣同大自然一齊生活，享受緊大自
neighbour’s cat was

然畀我哋嘅一切。遺憾嘅係島上冇幾多後
being attacked by
a python...The python mainly), Thai basil, lemon grass, snake beans,
was not too happy with turmeric and chillis are all happy with Hong
me taking his dinner out Kong conditions. I’ve even started to cross-
pollinate chilli varieties and create my own!
of his mouth so we had I don’t waste money and create more plastic
a little moment when waste by buying planters. I recycle polystyrene
he tried to lash out! boxes I find dumped, they are ideal as they
insulate the soil that I make from composting
We both survived to my organic waste and garden cuttings.
tell the tale.”
Wherever possible I try not to offend or
upset the old villagers in the neighbourhood.
This is easier said than done. They get
upset with change, and don’t like people
(especially Gweilo) doing anything new and
not traditional. For example, when I cleaned
up loads of laap saap (rubbish) and building
rubble in the jungle, they thought I was
But we also have some good stories and
adventures to remember and share. An
unforgettable experience was more recently
when I got a call that a neighbour’s cat was
being attacked by a python. Unfortunately, I
was too late to save the cat, but did manage
to get it back so the family could bury it. The
python was not too happy with me taking
his dinner out of his mouth so we had a little
moment when he tried to lash out! Not his
fault, I felt guilty. We both survived to tell the
tale. A beautiful animal indeed. One of nature’s
treasures that has more right to be in the
jungle than we do.
I think me and my neighbours are living in
harmony with each other. I have my uses to
help harvest for them if they cannot cut high
P.69
respect to each other -- when the weather
is hot, we are dripping with sweat and
fighting off clouds of mosquitoes! After
all, we are all the same, trying to live off
the land and to enjoy what Mother Nature
offers us. It’s a sad shame that not many
local young people understand what
magic these plants offer us and the society.
I may be white, but I love the village and
the Island as my home. I have always had
a fascination with islands. I like self-
contained independence. We could be a
model of sustainability with solar power,
water from the mountain, and almost
self-sufficient food. Here we have
everything we need to survive in
harmony with nature.

Incomers
外來人

creating trouble. I know enough Cantonese to jackfruits, and they kindly offer me some fruit
understand what they complain about me. in return. Through farming, I think we show
聽海與陸之聲
Listen to
the sound of
land & sea
南丫說 :
目錄 南丫南的里山里海 / 藝術推廣辦事處 P.78

Lamma Mia
Satoyama-Satoumi of South Lamma /
Contents Art Promotion Office

初心 / 藝術到家 P.80
Our Ethos / Art Together

說南丫 / 梁寶山 P.82

On Lamma / Anthony Leung Po-shan

索罟灣的日常生活 / 研究團隊 P.94

The Everyday Life in Sok Kwu Wan / Research Team

靠山吃山、靠水吃水 / 研究團隊 P.100

Living off Land and Sea / Research Team

入島札記 P.122
Our Island Journey

搵吾島 / 藝術到家
In Search of Our Own Lamma / Art Together

在地紀錄
Highlights of Our Journey

駐留小記
Residency Journal

作品簡介
About the Artworks P.144

簡歷
Biographies P.176

Contents
目錄
帶出藝術與 To spark a dialogue
大地的對話， between art and the
離開均質化的都市， land, moving away
從「里山里海」中 from the homogenised
cities to uncover the
發掘在地的潛在魅力。 potentials and charms
of the local satoyama
and satoumi.
南丫說 :
南丫南的 香港常被形容為蕞爾小島，令人意想不到的是這個小地方 It may come as a surprise to many that although nature. We decided to hold an art exhibition

Lamma Mia
竟 然 包 含 263座 大 大 小 小 的 島 嶼 。 島 與 島 之 間 隔 著 經 常 雲 often referred to as a small island, Hong Kong on the southern shores of beautiful Lamma

里山里海 雨蒼蒼的山和海，遊人可沿各個邐迤的海岸，邊看風景，
且聽風吟，是近期漫長疫境中自我療癒的好去處。曾經有
in fact consists of 263 islands of all shapes and
sizes. Between the islands are misty, blue-green
Island in the hope that the audience would
rediscover the satoyama-satoumi of Hong

Satoyama- 一首懷舊城市民歌〈南丫島的故事〉，歌詞這樣說： mountains and seas, where holidaymakers can

travel along winding coastlines while taking in
Kong through the “Lamma Mia” Public Art
Project.

Satoumi 「南丫島 你海角邊……

海浪輕拍岸 風在呼叫
the scenery and enjoying the sea breezes. These
scenic spots are ideal for healing the body and The Art Promotion Office is grateful to

of South 滔滔白浪 細雨綿綿……

沉思於索罟灣……
soul amidst the recent protracted pandemic. The
lyrics of a nostalgic Cantonese urban folk song,
the Lamma Island (South) Rural Committee
and the local residents, both on water and

Lamma 島上的故事 海浪的愛……

他朝舊地 你我重逢
The Story of Lamma, go like this: on land, for their enthusiastic support of this
project. We would also like to thank all the
再不感到孤零……」 “Lamma Island is over the sea… participating parties including our Art
The waves lapping its shores, the winds howling In-Situ Curatorial Partner Art Together
於是，我們決定在這個美麗的島嶼南丫島的南岸， The breakers keep rolling in, and its research team, the 15 artists/teams:
舉辦一個藝術展覽，期望帶出藝術與大地的對話， the drizzle unending… Brandon Chan, Peggy Chan, Martin Cheung,
藝術推廣辦事處 離開均質化的都市，從「里山里海」中發掘在地的潛在 Brooding in Sok Kwu Wan… Cheuk Cheung, Ho Yuen-leung, Humchuk,
Art Promotion Office 魅 力 。「 里 山 」
（ Satoyama），
「里」字為「田」和「土」的 A story on the island, a love story of the waves… Lam Duen Shan Ming, Kinchoi Lam and Jess
象形造字，在日文有故鄉的意思，泛指介於農村與深山之 One day on the same spot, Lau, Pauline Lam, Ma Chi-hang, Shum Kwan-
間 的 地 方 。 相 對 於「 里 山 」，「 里 海 」
（ Satoumi） 是 指 漁 村 when you and I meet again yi, Sharu B. Sikdar, Siu Wai-hang, So Wing-po
與海洋之間的結合，強調的是人類與自然的和諧及永續關 We’ll feel lonely no more…” and Zhang Zhe. Lastly, we would also like to
係，我們希望透過 「南丫說：」這個展覽，讓大家重新發 extend special thanks to our design partner

P.79
掘香港的里山里海。 Our vision is to spark a dialogue between art and Ming Cheung and Public Tour Collaborator,
the land, moving away from the homogenised Hong Kong Community Heritage Foundation.
藝術推廣辦事處謹此衷心感激南丫島南段鄉事委員會以 cities to uncover the potentials and charms of
及一眾水陸居民對這次計畫的鼎力支持。同時亦感謝所有 the local satoyama and satoumi. The Japanese Let us all sail away to this island on the
參與今次計劃的人士，包括在地藝術策劃夥伴藝術到家及 kanji for sato is made up of the ideogram for tender sea breeze and listen to its soft, gentle
其研究團隊，十五組藝術家，包括陳百堅、陳佩玲、張震 ‘field’ and ‘earth’, which can mean ‘native soil’, and whispers not just with our ears but with
揚、卓翔、何遠良、含蓄、林斷山明、林建才及劉清華、 yama means ‘mountains’. The compound word our hearts.
林玉蓮、馬智恆、沈君怡、Sharu B. Sikdar、蕭偉恒、蘇詠 satoyama therefore refers to the ‘area between
寶及張哲。最後，我們亦感謝專責是次項目設計的張偉明 rural villages and the mountains’. Its marine
和導賞活動策劃夥伴香港民間古蹟保育基金。 counterpart satoumi, is a combination of sato and
umi (the sea), or ‘where fishing villages and the sea
就讓我們乘著溫柔的海風航向這座島嶼，用心細聽它的低 meet’. Both terms emphasise a harmonious and
聲絮語。 sustainable relationship between humankind and

Satoyama-Satoumi of South Lamma

南丫南的里山里海
南丫說 :
初心 社區藝術在一些老區中出現，彷彿漸漸成為常態。大眾
普遍認為藝術——尤其社區藝術，能刺激該區的細胞，讓
Our Ethos 整 個「 被 藝 術 化 」的 老 區 全 面 活 躍 起 來 。 藝 術 之 所 以 讓 人
有妙手回春、甚至起死回生的錯覺，無疑基於藝術的包
容性及顛覆性。即是藝術計劃在該社區的切入要是能對症
下藥、打中紅心的話，確能引起一時佳話，滿足部分持
份者。
對「南丫說：」計劃而言，我們希望能滿足更多層面：
藝術到家 •對南丫南社區
Art Together •對藝術生態
•對參展藝術家
•對觀眾
上述四個層面的需求及獲滿足的條件都不一樣，不是一個
單 一 項 目 可 一 蹴 而 就 。「 南 丫 說 ： 」 計 劃 嘗 試 以 文 化 歷 史
角度，從上述四個層面進行較深入的「人盯人」式探討和
研究，再由應邀藝術家以其多元化及獨特的藝術計劃去進
行實踐。
對南丫南社區而言，推行社區藝術計劃總難免予人
「 空 降 」、「 借 場 」 的 感 覺 。 本 計 劃 希 望 提 升 「 貼 地 」 意
識，除活動開幕前一年進行「落區」
請島民作研究員，更設三個月的藝術家駐場計劃，進行深
耕細作的交流與接觸，讓島民更深入體驗當代藝術。
對 藝 術 生 態 而 言 ，「 南 丫 說 ： 」計 劃 包 括 一 項 為 期 九 個 月
的南丫南段社區研究，發掘南段水陸居民的生活經歷、
歷史文化、鄉村和社區內的人文風景，為藝術創作提供養
分，讓本計劃內容更紮實、更具內涵。這類以研究先行的
藝術計劃，將有助強化本地藝術生態發展。
對參展藝術家而言，創作以多元化為原則，即十五組應
邀藝術家的創作媒介、專長、經驗、學術背景都十分多元
化。本計劃鼓勵藝術家之間的交流，促進良性競爭及互相
學習。
對觀眾而言，本計劃亦加入不少教育元素，期望透過不同
藝術活動，讓參加者除了可以「打卡」之外，亦能夠透過
在地的導賞、工作坊、分享會、放映會等活動，於文化藝
術領域知識與修養上有所裨益。
「藝術到家」希望滿足各界、平衡各方，盡力拉闊平台予不
同持份者，讓其體驗、感受、實踐、了解藝術與社區同步
的相得益彰，並期望計劃能在南丫南達到持續發展、持續
更新。
初心
The emergence of community art in old districts
seems to have become a norm. The public have
generally come to agree that art, especially
community art, has the power to reinvigorate
an old district. That art is perceived, albeit an
illusion, as an elixir of life is undoubtedly due to
its inclusive and provocative nature. That said, if
a project offers the right cure and hits the bull’s
eye, it could indeed bring satisfaction to some
stakeholders.
With the “Lamma Mia” project, we hope to go
above and beyond by taking more aspects into
consideration:
• South Lamma community
• Local art ecology
• Participating artists
• Audiences
There is no easy way to address all these different
aspects as each of them has their own needs and
requires different conditions for satisfaction.
、研究、訪談，還邀 By attempting a multi-faceted approach, this
Project attempts to research into these aspects
individually and collaborates with artists to
respond to them from a cultural and historical
perspective.
For the South Lamma community, the launch
of a community art project might often be seen
as intrusive and exploitative. We thus adopt a
‘down-to-earth’ approach to make it relevant to the
locality – a year before the exhibition opening, we
had already started conducting research and field
studies, and even recruited residents to join the
research team. Besides, we also launched a three-
month artists-in-residence programme to enable
in-depth exchange between participating
Lamma Mia
artists and the local community, allowing
the latter to immerse in contemporary art at
first hand.
With regard to local art ecology, the Project
includes a nine-month community research
programme that examines the living
experience, history, culture and human
landscape of South Lamma. The research
findings were then used to enrich artistic
creation in an attempt to create a viable
model of research-based art project that
could benefit the local art community in the
long run.
Regarding participating artists, the Project
has commissioned 15 artists/teams
who differ from one another in terms of
medium, strength, experience and academic
background. Such a diversification has
encouraged mutual exchange and healthy
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competition among them.
As for the audiences, the Project offers a
range of educational activities, including
guided tours, workshops, sharing sessions
and documentary screenings to engage them
in a meaningful dialogue with the island other
than providing attractions for snapshots.
All in all, by addressing the various needs of
different stakeholders, we aspire to benefit not
just the community concerned, but also the
wider society, and we hope that the seeds this
Project sows in South Lamma would continue
to grow in the days to come.
Our Ethos
說南丫
On Lamma
梁寶山
Anthony Leung Po-shan
南丫說 :

Lamma Mia
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《說文解字》謂： An entry in Shuowen Jiezi, a Chinese dictionary of
「海中往往有山可依止，曰 㠀 。」 etymology, expounded on the word dao (island),
只有飛鳥能及的地方，令人特別神往。 referring it to “hills found in the sea that provide rest stops”.

On Lamma
Places that can only be reached by flying birds are
說南丫

particularly fascinating.
南丫說 : 城市人心目中的鄉郊，往往有兩種典
型。一種是花香鳥語、人情味濃、與世
無爭等美好想像；另一種是蛇蟲鼠蟻、
原 始 落 後 、 人 迹 罕 至 等 恐 懼 與 排 斥 ——
簡而言之，鄉郊就是城市的反面。早期一
些新界研究，有一種把「時間空間化」
的傾向──即是有些來自城市的研究員，
把自己與他者的空間距離，當成是時間距
離。結果是把鄉郊歷史化、物件化，例如
去掉所有生活痕跡、把老屋復修到原來樣
式。對於四面環海的島嶼，觀光客、城市
人以至規劃者，往往亦帶着種種以陸地為
中心的視角和知識，投射他們的慾望和
浪漫的想像。要麼認為她是需要追上城市
化、現代化。又或者把居民原來的生計資
源，變成受保護的對象。
陸上人遠觀島嶼，覺得可望而不可即。
斐 濟 的 大 洋 洲 研 究 學 者 Epeli Hau'ofa
指出，這種「地狹人少」的錯覺，是因為
陸上人習慣腳踏實地、不懂得水面的生計
和島嶼的生活方式，才會視海洋為無物。
但如果我們把視覺移到船上，卻會重新發
現原來港島南岸並不是香港的盡頭，反是
廣闊的海域和眾多島嶼的開端。最近香港
亦興起了一股探索島嶼的熱潮，紛紛以島
嶼生活文化、地景為題策辦展覽、工作
坊、藝術活動及專題創作結集等，從另一
椰林樹影，水清沙幼 ?
人類傾向為島嶼投射各種想像。為了迎合旅客想像，不少島嶼會
把漁場劃為海濱長廊或保護區，取締原有作業。這些被呈現的空
間或會逐漸抑壓由生活經驗累積而成的空間，使島嶼的自然和人
文景觀變得單一。
說南丫
There are often two stereotypical images of
rural areas in the minds of urban dwellers: one is
the rural idyll, filled with birdsong and fragrant
flowers, where everyone lives in harmony; the
other is the rough, desolated rustic village,
overwhelmed with pests and horrific animals. In
short, the countryside is seen as the complete
opposite of the city. Some previous research
about the New Territories often shows a tendency
towards ‘spatialisation of time’. In other words,
researchers living in the urban area simply
regarded the spatial distance between themselves
and the Other as time distance. Their research
outcome often leads to the historicising and
objectifying of the countryside by removing all life
traces and conserving old houses to their original
appearance. Tourists, urban dwellers and planners
also tend to project their desires and romantic
imaginations on islands with various continental
perspectives and knowledge. They either
assumed an immediate need for urbanisation and
modernisation, or simply considered the natural
resources as something subject to their protection.
Inlanders tend to see islands in a far sea as having
a sparse population and limited land area. Epeli
Hau'ofa, a Fijian scholar of Oceania studies,
pointed out that such a misconception of islands
個角度反思我們習以為常的歷史觀。這些嘗 neglects the importance of the ocean and is
Lamma Mia
試和努力，不禁令我們猛然想起，香港島其 caused by an ignorance of the islanders’ ways
實本來也是四面環海，只是經歷十九世紀開 of life. Once we change our perspective by
始的填海工程加上海底隧道及地下鐵路的開 focusing on the water, we will realise that the
通，她作為海島的地理特徵才被淡化。 southern coast of Hong Kong Island should
not be seen as the boundary of Hong Kong
就在香港仔不到四公里的對岸，便是面積 itself, but a gateway to the vast ocean and
達 13.85平 方 公 里 的 南 丫 島 。 在 一 般 城 市 人 numerous islands. In recent years, Hong
的心目中，她可能就是二十多個主要離島 Kong has seen a growing trend of island
中 ， 最 富 異 國 風 情 的 「 小 島 」 —— 雖 然 她 exploration. Plenty of exhibitions, workshops,
是長洲的5.6倍，比青衣還要大；而且幅員 art events, and collaborations based on the
廣闊、資源豐富，水陸聚落源遠流長。本 cultural and natural landscape on islands
計劃「南丫說：」著重研究和整理島民的 have been organised, prompting us to reflect
生計方式，特別是延綿的水陸交界，到底醞 on our conventional historical perspectives.
藏著甚麼在地知識。例如南丫島上幾所廟 These attempts never fail to remind us that
宇，平日看似人煙稀疏。但只要時候到了， Hong Kong Island is indeed surrounded by
香港仔、筲箕灣、赤柱、蒲苔島以及港九水 the sea — a fact that has been overshadowed
陸居民，便如潮淹至。島民當然也會在灣內 by the opening of the cross-harbour tunnels
暢泳甚至划龍舟，但更重要的是海面也是 and railways and the massive shoreline
運輸與撈捕的地方。從貝類、海藻、魚蝦、 expansion projects since the 19th century.
山草、農田到水源，都得靠居民共同維持，
才能生生不息。如果我們能了解到水陸交 In the minds of local urban dwellers, Lamma
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界，正是眾多族群和物種賴以維生和互動的 Island is perhaps the most exotic ‘isle’ among
地景，便會發現原來「小」與「島」，其實 the dozens of major outlying islands in Hong
並無必然關係。 Kong. But in reality, this vast island is within
arm's reach. The distance between Lamma
Island and the nearest tip of Hong Kong
Island is less than 4 km. The island measures
Pristine water and fine sand amid coconut palms
Humans tend to project all kinds of imaginations onto the island. We can see how fishing
grounds on islands have been converted into seafront promenades or conservation
zones just to tie in with the touristic imagination. Once the represented space of an
On Lamma
island overshadows its experiential space, its natural and human landscapes will become
homogeneous.
南丫說 : 島嶼之所以特別引人暇思，正在於 an area of 13.85 km2 or 5.6 times of Cheung Chau, 者Godfrey Baldacchino，把這種既開放、又封閉 are what the Project intends to explore.

Lamma Mia
主 觀 與 客 觀 、整 體 與 局 部 的 差 異 。 which is even bigger than Tsing Yi. This spacious 的特色，稱為「島嶼的弔詭」，居民與遊客、 Hongkongers generally consider the outlying
「 南 丫 說：」想 要 探 索 的 ， 正 是 這 種 island boasts a long history of its onshore and 自然與人造之間，各種差天共地的想像和現 islands as leisure areas with stunning
不一定是非此即彼的二重性。香港人 offshore residents and is abundant in natural 實，奇妙地並行不違。 landscapes and delicacies. After a joyful day
普 遍 視 離 島 為 消 閒 和 玩 樂 的 地 方 —— resources. “Lamma Mia” Public Art Project aims to of excursion on these islands, they may just
椰林樹影、水清沙幼和地道美食。樂了一 study and draw a clearer picture of the livelihoods 這次計劃選擇把焦點設置在以索罟灣為中心 rush back to the city, getting prepared for
天之後，便又趕渡船班，準備明天的忙 on Lamma Island, with a particular focus on the 的南段，正是因為她與港島南岸息息相關， work on the following day. Islanders in their
碌。事實上，在索罟灣大街上腳踏一雙人 local knowledge developed from coastal living. For 打破島嶼遺世獨立的想像，卻又保有自身的 flip-flops strolling along First Street in Sok
字拖、看似遊手好閒的島民，卻很可能在 example, the temples on Lamma Island may seem 生活地景。我們有幸獲得南丫島南段鄉事委 Kwu Wan may appear idle to urban dwellers,
各司其職，維護著島上生計。這座島嶼四 desolate on a normal day, but on special occasions, 員會的支持，由研究團隊進行田野考察和口 but in fact, they each have their own role in
面環海，看似一個封閉的單元，只靠渡輪 residents from Aberdeen, Shau Kei Wan, Stanley, 述歷史訪問，再由策展團隊和藝術家深入社 the community, serving the neighbourhood
連繫到市區，正好座落在最繁忙的主要航 Po Toi Island, Hong Kong and Kowloon will 區，共同思考城市和鄉郊、陸地和海洋的關 unassumingly. As the island is surrounded
道博寮海峽之上。當你認真深究，赫然發 swarm in like a tide. While local residents would 係。收集得來的各種親身經歷和在地知識， by the sea, it is often regarded as an insular
現島嶼由於地理關係，形成了南北兩個主 swim or row dragon boats in the inlet, the sea 表面看似平平無奇，卻是「只此一家，別無 destination connected to the city only by
要社區，當中醞含着與城市不同的生活節 is where everyday transportation and fishery 分號」的地方文化。我有幸棲居在島上共二 ferry, even though the island is situated in
奏——隱世豪園和清修道場座落其中；安 take place. The shellfish, seaweed, fish, shrimps, 十個寒暑，作為一個文化藝術工作者，我想 the middle of one of Hong Kong's busiest
土重遷的陸上人、四海為家的水面人、從 herbs, farmland, and water sources all need to be 我能夠回饋這個地方的最好方法，就是好好 principal fairways. If you observe closely,
城市遷入不同族裔居民。要說她自給自足 sustained by the concerted efforts of the locals. 地記錄她。感謝策展和研究團隊的努力，所 you will find that the island is divided into
嗎？過去島上不少鄉村，都得賴漂洋過海 Once we understand that the land and water of 有島民和鄰居的信任，讓「南丫說：」得以 northern and southern communities due to
的男丁匯款過活；而現在的旅遊業，也帶 and around Lamma Island is where various ethnic 順利開展。 its geographical features, with a pace of life
動各種資源流動。她是看似青山綠水，但 groups and species live on and reciprocate, we will different from that of the city. Being home to
發電廠與石礦場，卻又造成了不可逆轉 realise that the island is neither small nor exotic. secluded mansions and sanctuaries, Lamma

P.89
的改變，並為城市發展提供了寶貴的天然 Island is populated by inlanders, water people
資源。島嶼之所以引人入勝，可能正是因 What makes islands particularly fascinating and other ethnic groups who have moved in
為她沒有單一的敍事，一切都靠來往復返 is their objective-subjective and part-whole from the city. It is dubious whether the island
的實踐，互相依存。馬爾他島嶼研究學 differences. These non-exclusive dualities is self-sufficient: in the past, many villages on

維京人認為島是只能靠船和槳與 去島化：被橋樑或棧道等人力工程接通的島，
大陸聯繫的地方。 往往被認為「島性」減弱了。
In the past, the Vikings considered islands De-island: Islands which have been connected by man-
which could connect with the mainland only made structures like bridges and viaducts are often seen as

On Lamma
by means of ships and oars. having diminished ‘island-ness’.
說南丫
南丫說 : the island had to rely on the remittances from
their villagers working overseas, whereas
the tourism industry nowadays has brought
resources and income to the island. While the
stunning natural scenery seems undisturbed,
power plants and quarries in Lamma, on the
other hand, have caused irreversible changes
in the provision of precious natural resources
for urban development. As an embodiment of
reciprocity and interdependence, the island
cannot be fully grasped by a monolithic
narrative. Godfrey Baldacchino, a Maltese
scholar of island studies, called this mix
of openness and closeness the ‘paradox
of island’, which allows the coexistence of
contrasting imaginations and conceptions
between residents and tourists, the natural
and the man-made.
說南丫
The Project focuses on Sok Kwu Wan of South
Lamma Mia
Lamma because of its close connections with
the southern coast of Hong Kong Island, which
break the imagined separateness of the island,
while keeping its unique cultural landscape and
way of life. We are honoured to have the support
of the Lamma Island (South) Rural Committee,
which facilitated the research team to conduct
field studies and oral interviews, and the curatorial
team and artists to investigate further into the
community so as to rethink the relationship
between the countryside and the city, the land and
the sea. The personal stories and local knowledge
collected may seem ordinary, but they indeed
encapsulate the uniqueness of the local cultures.
I am fortunate enough to have lived on Lamma
Island for two decades. As a cultural and art
practitioner, I believe a thorough documentation 東博寮海峽是香港港口的主要航道，貨輪每天在此川流不息。
East Lamma Channel is one of Hong Kong's busiest principal fairways where countless cargo ships ply between every day.
of this place is the best way to return the favour
to the island. I am thankful for the efforts of the
curatorial and research team, and the support from
all the islanders and neighbours.
P.91
島嶼是一種緊張的二元性：它指本土和全球的現實、內部和外部的意義參照、
安土重遷與漂洋過海……通通匯合並置擺在我們眼前。島嶼就是世界；
而島嶼也吸引或介入世界。
The concept of island is a tense dichotomy: It juxtaposes the local and global reality, internal and
On Lamma
external references, and the native and immigrant’s state of mind... while revealing them before our
very eyes. The island is a world in itself; and it also attracts/intervenes the bigger world.
 香港仔西避風塘對出海面望向大嶼山。
A view of Lantau Island from Aberdeen West Typhoon Shelter.

島嶼的海洋：我們習慣以「大」來形容陸地，視之為闊廣的地方。對於島嶼， Sea of Islands: It is customary to describe a continent as ‘vast’ and islands as ‘small’, with the
卻愛加上「小」的形容詞，認為它遠隔重洋，地狹人稀。來自斐濟的學者 latter being seen as ‘islands in a far sea’ with limited land area and a sparse population. Epeli
Epeli Hau'ofa指出，大洋洲的原住民本來視海洋為連綿無盡的棲息地。只是後來 Hau'ofa, a Fijian scholar, points out that the indigenous inhabitants of Oceania originally felt
的殖民者以大陸的視角到處設限，並在茫無邊際的大海中，劃出人造的邊界。 very much at home with the boundless sea. It was not until later when colonisers, based on their

On Lamma
原來彼此相連的島嶼，因此才變得細小。 own continental perspectives, demarcated the sea that the hitherto inter-connected islands were
說南丫

conceived as small, insulated landmasses.

索罟灣的
日常
The Everyday Life
in Sok Kwu Wan
研究：王惠玲、陳芷琳
Research: Wong Wai-ling, Teresa Chan

文字：王惠玲
Text: Wong Wai-ling

繪圖：陳芷琳
Illustration: Teresa Chan
南丫說 : 這 幅 生 活 圖 是 1980年 代 中 索 罟 灣 的 想 This illustration is a snapshot of everyday life in Sok
像景貌，是綜合了多位水陸居民的記 Kwu Wan based on the residents’ memories there.
憶 而 成 的 。 我 們 找 到 一 幅 1983年 索 罟 It represents an imaginary scene of the bay in the
灣的舊照，發現至今外貌大致相若， mid-’80s. We found an old photo of Sok Kwu Wan in
可 見 至 1980年 代 中 索 罟 灣 「 城 市 化 」 1983 and were surprised to see how little the place
進程已大致完成，這可說是索罟灣發 has changed over the decades. The picture shows that
展的里程碑。 Sok Kwu Wan was urbanised and became what it is
now by the mid-’80s, which marked a milestone in the
戰前的索罟灣是一條小村落，岸上有 development of the area.
一列房屋、菜田、雞屋和豬舍，屋前
便是索罟灣海灣；灣內有漁船停靠， In the ’40s, Sok Kwu Wan was a small village with just
沙灘上有漁船在燂船底(即在船底燒 a row of houses and some farmland, chicken coops and
草以煙燻清理船底積聚的貝殼海藻等 barns on the shore. In front of the houses was a bay
雜物)。戰後政府開始發展南丫島， where fishing boats were docked. On the beach, some
在索罟灣填海賣地，由私人建屋，索 fishers used to maintain their boats with smoke from
罟灣人口逐漸增加，原來那列房屋前 burning grasses. In the ’50s, the government began
面，逐步多了兩行新的房屋，最靠近 to develop Lamma Island through land reclamation.
海 灣 的 街 道 叫 「 第 一 街 」， 向 內 退 一 As more privately developed houses were built on
行 的 叫「 第 二 街 」 ， 靠 山 那 列 叫「 第 the newly reclaimed land, the population of Sok Kwu
三街」。 Wan increased gradually. Two extra rows of houses
were built in front of the first row. The street closest
填 海 建 屋 發 生 在 1960年 代 初 至 1970年 to the bay was named First Street, the inner one
代末之間，索罟灣猶如一個「小熔 Second Street, while the one closest to the hillside
爐 」， 吸 納 從 村 落 、 水 上 、 島 外 移 居 Third Street.
過來的人口，形成索罟灣社區，第一
街是商店街，店主有從南段村落遷來 The reclamation and extensive development of Sok
的，有從島外遷入的，售賣居民生活 Kwu Wan ran from the early ’60s till the late ’70s.
所需，加上新碼頭和油麻地小輪航 Sok Kwu Wan was like a ‘little melting pot’ with a
線，索罟灣從小漁村變身為南丫南段 community formed by people who migrated from
的 「 市 中 心 」。 到 1983年 ， 第 一 街 的 villages, boats, and outside the island. First Street was
樓宇已齊全，外圍建成一列齊整的地 a shopping street where grocery stores were found,
台，成為索罟灣的地景標記。 with shopkeepers who moved from the villages in
South Lamma and from outside. Since the new pier
市區人對索罟灣的認知是漁村和海鮮 and the Yaumati Ferry started to operate, Sok Kwu
酒家，但索罟灣水陸居民的記憶卻是 Wan has been transformed from a small fishing
1980年 代 社 區 人 口 最 多 的 時 候 ， 那 種 village into the ‘town centre’ of South Lamma. By
和樂、熱鬧的氣氛，日常生活的共同 1983, the scene of First Street, filled with buildings
經歷和集體回憶凝聚著社區認同感。 on an elevated platform over the beach, became the
landmark of Sok Kwu Wan.

To city dwellers, Sok Kwu Wan is all about fishing

and seafood. However, for local residents, whether on
land or on the water, what stays on their mind is the
lively atmosphere and the sense of belonging built
on the collective memories during the ’80s when the
索罟灣的日常

community was the most populous.

南丫說 : 孩子的生活 Children Way of Life 鬼故的趣味不單在於驚嚇性，也在於它是 Amusements for the Grown-ups 傳統節慶 It was a different scene in Sok Kwu Wan at butcher of Chung Mei village, and grasses from Shared Memories and

Lamma Mia
跨時空的共同回憶。 night. Many seafood restaurants on First Street other villagers for the maintenance of their boats. Sense of Belonging
1980年代，乘頭班船到市區上學是很多索 In the ’80s, taking the earliest ferry to the city There were two or three tea houses on First 水 面 人 慣 稱 天 后 為 媽 娘 或 阿 媽（ 音 m a a 5 would be full of diners in the evening, many of
罟灣孩子的日常生活，搭油麻地渡輪的在 for school was a routine for many children 喝過早茶，大人們便開枱打麻將，第一街 Street where the water people would visit 「馬」)。平 日 寂 靜 的 天 后 廟 ， 每 年 農 曆 四 whom were foreign businessmen and British Traditional Festivals Sok Kwu Wan in 1983 was like a cultural
上環威利麻街碼頭上岸，趕赴中環、上環 from Sok Kwu Wan. Some took the Yaumati 有幾處出租麻將和開枱地方，也是水陸居 to enjoy tea and dim sum after sorting out 月十八日是索罟灣的媽娘誕，當日廟前香 Forces, as many islanders recalled. Among the landmark that evokes the residents' memories
或西營盤上學，搭街渡的往香港仔或鴨脷 Ferry to Wilmer Street in Sheung Wan before 民的聚腳點，大清早聽到「噼嚦啪嘞」麻 their rafts and catches. They would exchange 火鼎盛，掛滿彩旗的漁船駛入灣內，街渡 Chinese diners, there were many celebrities Water people called Tin Hau “Ma-Niang” or “Ah- of daily lives and a strong sense of belonging.
洲上學。一兩個家長拖著自家和鄰家的孩 rushing to their schools in Central, Sheung 將聲，是社區生活一景。另一個閒聊吹水 information about the industry and their own 和渡輪坐滿來賀誕的善信，他們來自香港 and tycoons. The bay was full of yachts back Ma”. Tin Hau Temple, which is quiet on weekdays, Since the ’90s, the Sok Kwu Wan community
子，或者大孩子拖著小孩子乘船渡海，左 Wan or Sai Ying Pun, while others took kaito 的聚腳點，是吃餐蛋麵、三文治、奶茶的 experiences. Villagers who loved yum cha 仔、油麻地、西環等漁灣。島上各村的 then, and the restaurant operators were would become bustling at the Tin Hau Festival began to shrink as the residents onshore and
鄰右里之間就是如此的信任，孩子之間亦 Ferry to Aberdeen or Ap Lei Chau. One might 茶餐廳，第一街上有兩間茶餐廳，想要找 would also join the conversation if they were 村民則步行前來賀誕，鄉事委員會搭棚做 busy entertaining visitors even on weekday (the birthday celebration for Ma-Niang), i.e. the offshore moved to the urban areas for work
產生了共同的成長回憶。 see parents bringing their neighbour's children 誰，該往哪間茶室、哪間茶餐廳，大家都 not in a hurry. Though Sum Kee and Cheuk Kee 戲，信眾和非信眾們都會來看戲湊熱鬧。 evenings. But such a scene has been long gone. 18th day of the 4th lunar month every year. Fishing and better housing. In 1998, the rafts in Sok
along with their own or elder siblings looking 心中有數，因為熟人之間的生活習慣是社 are now closed, these tea houses still linger in 有些已搬到市區甚至外埠的居民都會回來 boats decorated with colourful flags would moor Kwu Wan were severely hit by the red tide.
不少索罟灣孩子是到蘆鬚城學校上課的， after the younger ones on the way to school. 區 內 的 「 常 識 」， 外 來 人 多 見 幾 面 便 有 人 people's minds. 與家人親戚朋友團聚。 The Water Community at the bay. The kaito and ferry would be crowded Since then, the mariculture industry and the
學校分上下午班，一至三年級返上午班， Mutual trust was strong within the community. 跟你打招呼，你想找誰，問一問會有人幫 with worshippers from Aberdeen, Yau Ma Tei, fishing population at Sok Kwu Wan have
四至六年級返下午班，下午班學生年紀較 The children also shared a lot of childhood 你去找，這就是社區的濃厚人情。 There is a ghost story about the tea houses: In 索罟灣的龍舟會名「合心龍」，由岸上人 Surrounded by mountains on three sides, Western District, and other fishing bays. Villagers declined further. Although the population has
大，不用家長陪同。早上十點鐘後一群 memories. the early morning, a group of Japanese soldiers 和水面人合組而成，龍舟會本來只有一條 the water in Sok Kwu Wan is ideal for fishing from different villages in Lamma would also decreased, there are residents who remain on
孩子在天后廟集合，一路沿岸邊「玩」 晚上的索罟灣有另一番景色，第一街有多 were seen marching out from the steam coming 中龍(36名健兒)，1982年增添了一條大龍 boats to moor. It used to be a small fishing come to celebrate this festive moment. The Rural the island and people who return to safeguard
過去，在水中捉蝦蟹，在樹叢中捉「金 Quite a number of children from Sok Kwu Wan 間海鮮酒家，晚上坐滿了吃海鮮的食客， off from the dim sum steamers. Others are ( 50名 健 兒 ) ， 開 始 參 加 大 型 比 賽 。 每 年 bay. According to the 1961 Population Census, Committee would set up a bamboo theatre for their families’ legacies or establish new
絲貓」。島上沒有中學，即使在島上讀小 attended Lo So Shing School instead, where 共同回憶是有很多外籍人士，相信是商務 about Japanese soldiers parading in Ta Shui 農曆五月會到油麻地、銅鑼灣、青衣、香 there were 113 fishing boats on Lamma Island, Cantonese opera performances. Everyone would businesses for a living. With their shared lived
學，之後也會到市區上中學。 the classes were divided into morning and 人員和英軍，華人食客中有明星和富豪。 Wan, and late-night mysterious screaming 港仔各避風塘出賽，賽前龍舟和健兒們先 docking at Yung Shue Wan, Sok Kwu Wan join the fun whether they were religious or not. experiences and memories, the bay people
afternoon sessions. The morning session was 灣內泊滿遊艇，在平日的晚上，酒家的人 at the pavilion next to the beach where spies 向媽娘敬拜，祈求平安順利，然後由漁船 and Lo Tik Wan, accounting for only 1% of the Some residents who have moved out would come of Sok Kwu Wan maintain a strong sense of
周末和假期大家不用上學，依年齡層分成 for classes of primary one to three, while the 員忙個不停。這風景現已不復再了。 were rumoured to have been executed by the 拖龍舟前往比賽灣頭，漁船掛滿彩旗載著 total number in Hong Kong. As there were back to reunite with their families and friends. belonging to this community.
一堆堆，據說三年是一「代」，女孩子 afternoon one was for classes of primary four Japanese. 健 兒 們 和 啦 啦 隊「 出 征 」， 晚 上 大 伙 兒 回 fewer fishing boats in Sok Kwu Wan than in

和年紀小的較「斯文」，在沙灘上拾遺、 to six. Elder students attending the afternoon
煨番薯、煨雞蛋，天后廟是界限，不得逾 classes went to school by themselves. They
越。年紀較大的自由度較大，活動能力也 gathered at 10am at the Tin Hau Temple and
較強，在山上穿梭追逐探險，最遠會跑到 played along the shore on their way to school,
東澳村。 catching shrimps and crabs in the water and
jumping spiders in the bushes. There was no
大人的樂事 secondary school on the island. Children who
graduated from the primary level had to go to
第一街有兩三間茶室做早上茶市，水上人 Hong Kong Island for secondary education.
整理好漁排和漁穫後，愛上岸到茶室嘆茶
吃點心，交換一下漁業行情，分享一下作 On weekends and holidays, children would
業心得。岸上人不趕時間的，也愛一盅 hang out in groups of similar ages. Groups of
兩件，水上人、岸上人無分彼此地閒聊吹 girls and younger kids often preferred more
水。森記、焯記兩間茶室，雖已結業，在 gentle activities like collecting shells, baking
人們的記憶中仍然鮮活。 sweet potatoes and eggs. They were not
allowed to go beyond the Tin Hau Temple — an
人們流傳的一個鬼故是發生在茶室前面 imagined boundary of a safe zone. The older
水面社區
The fun brought about by these ghost stories
索罟灣三面環山，灣內風平浪靜，適合漁 is not only about the spookiness but also the
船 停 靠 ， 昔 日 是 一 個 小 漁 灣 。 據 1961年 人 common memories across time and space.
口統計，南丫島的漁船有113艘，只及全港
總 數 1%， 分 別 停 靠 在 榕 樹 灣 、 索 罟 灣 和 蘆 After morning tea, some of the people would
荻灣，索罟灣的漁船比榕樹灣少，可能只 start to play mahjong. There were a few places
有二、三十艘，都是近岸作業的小漁船。 where they could play mahjong. The mahjong
tile shuffling sound has become part of the
海水養魚業使索罟灣水面發生變化，索罟 soundscape of the community. Cha chaan
灣是全港主要養魚區之一，吸納來自不同 teng was another gathering point for both land
海灣的漁民在這裡起漁排養魚。1983年索 and water dwellers during breakfast, where
罟灣水面社區正在增長中，當時香港養魚 they would enjoy noodles with spam and egg,
業正急步發展，漁民估計高峰時索罟灣有 sandwiches, and milk tea. There were two
三百個漁排，水面人口有二、三千人。 cha chaan teng on First Street. The residents
had a pretty clear idea about where to find
水面人在索罟灣社區人口中佔多，經常上 someone as they knew each other and their
P.99
索罟灣聚餐慶祝，競投龍舟福品。2000年 Yung Shue Wan, we may assume that there Formed by both land and water dwellers, Hop
起，索罟灣開始舉辦龍舟比賽，於媽娘賀 were only 20 to 30 boats here, mostly inshore Shum Dragon Lamma represents Sok Kwu Wan
誕前一天舉行，碼頭、漁排、漁船上擠滿 fishing boats. in numerous dragon boat races. It initially ran a
看熱鬧的人。 medium-sized boat of 36 rowers. In 1982, it began
Being one of the largest mariculture zones to run a larger boat of 50 rowers to participate
共同回憶與歸屬感 in Hong Kong, the fish farming industry has in large-scale competitions. On the 5th lunar
altered the water landscape in Sok Kwu Wan. It month, they would join the races at the typhoon
1983年 的 索 罟 灣 猶 如 一 個 文 化 標 記 ， 承 載 attracts fishers from different bays to build rafts shelters in Yau Ma Tei, Causeway Bay, Tsing Yi,
著居民們對這地方豐富的生活記憶，強烈 and farm fish here. In 1983, the water people and Aberdeen. Before the race, the athletes would
的 認 同 感 。 1990年 代 起 索 罟 灣 社 區 不 如 以 community in Sok Kwu Wan was thriving pray to Ma-Niang with their dragon boats for
前熱鬧，城市發展吸引了岸上居民和水面 under the rapid development of the mariculture safety and success. Fishing boats decorated with
人到市區居住和就業。1998年香港被紅潮 industry. Fishers guessed that there were over colourful flags would tow the dragon boats to the
侵襲，索罟灣漁排受到嚴重打擊，自此養 300 rafts with a population of 2 000 to 3 000 competition venue. After the competition, these
魚業逐漸縮減，水面社區亦變得比以前冷 water people at the peak. fishing boats would return to Sok Kwu Wan with
清。雖然人口減少了，始終有人選擇留在 the athletes and cheerleading team for celebration
島上，也有從外邊回來的，守著上一代留 The water people accounted for a larger banquets. From 2000, Sok Kwu Wan started to
下的房屋、農田、生意，有些更開拓新的 proportion of the Sok Kwu Wan population. hold dragon boat races one day before Ma-Niang’s

The Everyday Life in Sok Kwu Wan

的，點心蒸籠噴出的滾滾蒸氣中，隱約地 ones enjoyed greater freedom and mobility and 岸與居民互動，飲早茶、買菜、購物、上 habits very well. The islanders would greet 生意。憑著共同的生活經驗和回憶，索罟 They often went ashore to socialise with the birthday. The piers, rafts, and fishing boats were
有一隊日軍操過來，也有說日軍幽靈在打 would wander around the mountains, heading 學、打麻將、閒聊吹水，颱風侵襲時到岸 visitors they found familiar and would help 灣的本灣人保持著對這個社區的歸屬感。 land dwellers when going yum cha, buying crowded with the audience.
水灣操兵，也有說涼亭旁的沙灘用來槍決 for adventures as far as in Tung O Village. 上酒家借宿避風。水面人和鄉村人也有互 them find whoever they were looking for. There food, shopping, schooling, playing mahjong,
間諜，夜深時有淒厲哭聲。這些鬼故反映 動，蘆鬚城村民擔菜到第一街擺賣，涌尾 was a strong sense of connection among the chatting, etc. When a typhoon hit Sok
了索罟灣歷史，在那「三年零八個月」的 村花名「豬肉佬」在第一街擺賣新鮮豬 residents. Kwu Wan, they would land and stay in the
淪陷時期，日軍攻佔南丫島，從索罟灣登 肉，顧客最多是水面人。水面人亦向村民 restaurants as shelters. They would also interact
索罟灣的日常

陸，在蘆鬚城駐紮，掘山洞監視東西兩邊 買草，在沙灘上燂船。 with the villagers, buying vegetables from

海域。 the villagers of Lo So Shing, fresh pork from a
靠山吃山、
靠 水吃 水
Living off
Land and Sea
南丫說 : 「靠山吃山、靠水吃水」是人類生活的傳 ‘Living off land and sea’ is a traditional wisdom of

Lamma Mia
統智慧，南丫島人秉承這種傳統智慧， human beings. By upholding this folklore, people
在大自然中尋找生計，做到自給自足。 on Lamma Island have secured their livelihoods
有較多耕地和充足水源的村落，主要以種 and achieved self-sufficiency from nature.
田維生；耕地不足的，以多元方式謀生，
割草、捕魚，加上採集山上和海中的自然
資源，以解決生活所需。

耕植今昔
Cultivation: The Past and the Present

P.103
從南丫島最高點山地塘望向深灣和石排灣，隱約可見
東澳村的水田。無論是山或海，都是村民昔日重要

Living off Land and Sea

的生計資源。（吳灞陵攝於1954年，相片由香港大學
靠山吃山、靠水吃水

圖書館提供）

Looking at Sham Wan and Shek Pai Wan from Mount

Stenhouse, the highest hill on Lamma Island, the paddy
fields in Tung O Village can be vaguely seen. Both the
mountain and the sea were crucial livelihood resources
for the islanders in the past. (Photo by Ng Bar-ling and
provided by The University of Hong Kong Libraries)
南丫說 : 農耕時代 1950年代中，南丫南段的村落仍然是傳統農村，村民以漁 In the mid-’50s, the villagers of South Lamma lived In the past, banana, papaya, jackfruit, and

Lamma Mia
Farming Era 農維生，其中以蘆鬚城村和模達村的耕地較多，水田種稻 on farming and fishing. In Lo So Shing Village wampi were the common fruit trees in the
米，旱田種蔬菜，天旱時種番薯；鹿洲村、榕樹下村和東 and Mo Tat Village, where there were more arable villages. Lychee, longan, and pomegranate
澳村的耕地較少，村民種田、捕魚、割草維生 （見P.6〈我來 lands, the villagers grew rice in the paddy fields trees were less common; whereas exotic fruits
自鄉村〉）。 and vegetables in the dry fields, and grew sweet like coconut, pineapple and lemon could also
potatoes in the dry season. In Luk Chau Village, be found. The fruit trees grew next to village
不 知 道 從 何 時 起 各 村 落 的 稻 田 逐 漸 減 少 ， 有 說 是 1963年 Yung Shue Ha Village, and Tung O Village, where houses as ‘wild trees’. Though there were no
天旱，稻米失收後農民放棄種米，唯已無從稽考。蘆鬚 farmland was not enough, the villagers also relied identifying labels on the trees, nobody would
城 Connie於 1960 年 代 出 生 ， 她 記 得 三 、 四 歲 時（ 1960年 代 on fishing and cutting grass (See P.6 Villagers). mistakenly take someone else’s fruits, while
末）仍見到村民打禾曬穀，不過她媽媽早在1950年代已沒 everybody would share the fruits with each
有種米；模達村娣姐種米，收成後直接將穀粒擔到香港仔 It is not certain when rice fields began to decline other. This community practice continues to
賣 ， 然 後 買 米 回 來 ， 約 於 1978、 1979年 不 再 種 稻 ， 與 蘭 姨 in size and number. Connie from Lo So Shing this day.
兩個人去北段打工，閒時種菜自家食用。Connie 聽媽媽說 recalled that her mother ceased to grow rice in
曾 經 和 牛 嫂 到 鐵 砂 塱（ 南 丫 北 段 西 邊 ）打 工 ， 負 責 在 田 裡 the ’50s. Auntie Tai from Mo Tat Village farmed Though many farmlands are abandoned now,
種菜，所以學會了種菜，又見賣菜較易賺錢便轉行了；她 rice until late ’70s. She sold grain in Aberdeen and some people still work in the fields. Some
記得1970年代末媽媽是種菜的，每天清晨摸黑到田裡割 bought rice back to the island. Though she later elderly villagers like Uncle Kam Fat and
菜，擔著兩籮菜趕搭六點鐘頭班街渡，出香港仔擺賣。村 did something else to earn a living, she still grew Uncle Chan Lam still work on their farms
裡還有牛嫂和馬蓮幾個婦女，每天搭頭班街渡去賣菜，即 vegetables for herself in her spare time. Connie to recollect the previous rural lifestyle. Here
使嚴寒冬天也如是（見P.18〈陳浩然〉）。 heard that her mother and Auntie Ngau learned we interviewed several Lamma Islanders
how to grow vegetables in Tit Sha Long (northwest engaged in farming to learn about their
蕉、木瓜、大樹菠蘿、黃皮等是鄉村常見的果樹，有 of Lamma). They found that it was more profitable experiences.
時會見到荔枝、龍眼、石榴等，聽聞昔日村民還種 than farming rice, so they began planting

P.105
過椰子、菠蘿、檸檬這些來自外地的果樹。水果是自 vegetables in the late 1970s. Back then, her mother
家 吃 的， 沒 聽 說 會 擔 到 島 外 售 賣 。 村 民 通 常 將 樹 種 插 and a few other female villagers would harvest the
在自家附近的泥土裡，任由樹木自然生長，他們稱 vegetables before dawn and catch the kaito ferry
是 「 野 生 」。 雖 然 沒 有 標 記 ， 大 家 都 知 道 哪 棵 樹 是 誰 家 種 at 6am to sell them in Aberdeen (See P.18 Chan
的，有默契不會隨意採摘別家的果樹，到收成時會互相分 Ho-yin).
享，這種社區習慣維持至今。

今天，很多農地都被荒棄了，間中會見到有人在田裡作
九十多歲的陳霖嬸拿起竹箕，仍然記得箕穀的手勢。
業，例如蘆鬚城金發叔和陳霖叔，雖已年過八十歲，依
With a bamboo basket in her hands, Auntie Chan Lam, who is in her 90s, still remembers how to winnow the rice.
然在田裡做農活，算是緬懷昔日的農村生活。以下我們
走訪了幾個投入耕作的南丫島民，了解他/她們的經驗和
想法。

Living off Land and Sea

靠山吃山、靠水吃水
南丫說 : 業餘種菜 蘆鬚城Connie在媽媽不再種田後對耕種產生興趣，她種田 活化荒田 趙叔是模達村內一戶原居民的女婿，岳母過身後，趙

Lamma Mia
Amateur 是自家食用，或與親戚鄰居分享。每年三月至五月，她種 Revitalising 叔眼見祖屋前的一片蕉林生滿野草，還夾雜磚頭和各
節瓜、青瓜、苦瓜；九月起種生菜、菜心、茼蒿；冬天種 式廢物，於是拔了雜草和清走垃圾，蕉林開始重現生
Vegetable Farmer 蘿蔔和芹菜，方便新年時做蘿蔔糕，新年吃芹菜寓意孩子
Abandoned Farmland 氣，趙叔感到鼓舞，於是開始「活化」家傳祖田，在
讀 書 「 勤 勤 力 力 」。 Connie自 覺 與 農 耕 時 代 的 長 輩 有 很 大 蕉樹下加些泥、加些肥。他將蕉葉燒成灰，待灰冷卻
分別，她們種菜是為了生計，會使用殺蟲藥和化學肥料， 後加入果皮和花生殼發酵成肥料，再混入泥土中養
而且當時環保意識尚未流行。Connie現在使用麩粉，成效 田。祖屋後面有一棵碌柚樹，趙叔也為它添泥添肥，
雖比化肥較慢，但可保證吃得健康。她也自覺不及媽媽那 柚樹去年長出了柚子，可惜收成暫時仍不算理想。
麼勤勞，下班回家後太累的話，不落田，天氣太熱的話，
不落田，只是一名業餘農夫。 彭先生是趙叔岳母另一位女婿，一星期有幾天專程從
小西灣來模達村耕田，邊做邊學。趙叔是農家出身，
Connie from Lo So Shing grows vegetables like zucchini, 彭先生是城市人，兩襟兄弟各展所長合力活化祖田，
cucumbers, lettuce, bitter gourd, cabbage and chrysanthemum 趙叔擅於使用鋤頭犂耙，彭先生上網找資料解決疑
for her own use or shares them with her relatives and 難，例如，去年的木瓜收成不佳，趙叔以前是種米種
neighbours. In winter, she grows radishes and Chinese celery 菜的，種木瓜他不在行，彭先生便上網找資料，發現
for making radish cakes for the Lunar New Year. Eating celery 需 要 做 打 枝（ 即 修 枝 ）和 變 性 「 手 術 」， 結 果 今 年 木 瓜
in the New Year is a Chinese metaphor for children studying 樹收成頗為理想。
diligently. She is aware of the differences in her practice
with the elders from the past. The elders used pesticides and Uncle Chiu is the son-in-law of an indigenous inhabitant of
chemical fertilisers because they needed these to ensure good Mo Tat Village. He felt sad when he found the abandoned
productivity. Connie now cultivates with bran powder instead. family field full of weeds and rubbish. To revitalise the field,
Although it is less effective than chemical fertilisers, the crops he cleared away the weeds and garbage, and added fine soil

are guaranteed safe to eat. She also feels that she is not as
hardworking as her mother because she considers herself an
amateur farmer.
P.107
and fertilisers to improve the soil condition. By burning
banana leaves into ashes and adding fruit peels and peanut
shells once cooled, he fermented these organic components
into a fertiliser and then mixed it with the soil. Apart from
that, he also did the same to the pomelo tree at the back of
the village.

Mr Pang is a relative of Uncle Chiu. He travels from Siu Sai

Wan to Mo Tat Village to do farming several days a week.
While Mr Pang is not good at ploughing like Uncle Chiu,
he uses his tech skills to solve their problems in cultivation
by researching on the Internet. For example, he contributed
tips and tricks from the web and worked with Uncle Chiu to
save the papaya tree on their family field. The harvest this
year was rather satisfying.

Living off Land and Sea

靠山吃山、靠水吃水

Connie的小園地，井井有條。 趙叔和彭先生合力救活的木瓜樹。
Connie's well-organised small farm garden. A papaya tree saved by Uncle Chiu and Mr Pang.
南丫說 : 以「種」會友 在模達村荒田做活化工夫的還有娣姐，她說自己只做懶人 「外來人」耕種 也 有 不 少 外 來 人 在 村 內 耕 種 ， David是 其 中 一 例 ，

Lamma Mia
Sharing Seeds 工夫，在荒田裡種新的蕉和木瓜都不施肥和澆水，任由它
‘Incomers’
他 在 露 台 和 天 台 的 花 盆 內 種 東 南 亞 的 植 物
們「天生天養」，但趙叔和彭先生讚賞娣姐種的木瓜又大 ( 見 P. 6 6〈 David〉) 。 涌 尾 村 Simon則 在 他 家 門 前 的 小
with Friends 又靚，肯定她有獨特心得。幾個「農夫」互相觀摩，娣姐 Farming 庭園耕種，庭園裡那幅「田」本來是上手屋主的金
向彭先生要了他從外邊買來的秋葵種子，收成很好，還分 魚 池 ， Simon入 住 後 ， 向 鄰 村 村 民 要 了 一 些 泥 土 ，
送給各鄰居享用。有鄰居買了菠蘿來吃，娣姐把被棄掉的 用泥土填滿了金魚池和欄柵旁的花糟，種了番茄、
菠蘿蒂插到泥裡來試種，結果收成理想，可惜大部分被野 豆角、粟米、番薯，最近在試種甘蔗。
豬吃掉了。
外來人耕種最大困難是土地問題，所以David和Simon
娣姐記得十多年前每天去榕樹灣打工，由模達村步行到榕 以盆和池來種植。住在模達村的許先生也是外來人，
樹灣，必定途經蘆鬚城，有天見到一位女村民正在牛奶蕉 他租了一位原居民的房屋居住，得到業主允許，把一
樹下存「種」，於是向她要了一些，在自己村裡種起牛奶 處房屋倒塌了的祖地「活化」為瓜田，他先將瓦礫和
蕉來。蘆鬚城Connie記得她媽媽從廣東的鄉下把牛奶蕉帶 廢土堆起，用樹葉和木碳灰來養地，原來的黃土逐漸
回蘆鬚城，村內才開始有牛奶蕉，當年周太是否遇上了 變成田泥，種出了木瓜、南瓜、冬瓜和合掌瓜。許
Connie媽媽，結了蕉緣而不自知？ 先生發現倒塌了的房屋瓦礫和橫樑下面，是蛇蟲鼠蟻
繁殖的溫床，他曾見過長一呎多的蜈蚣出沒。自從塌
Auntie Tai also works in the barren field at Mo Tat Village. She 屋被改造成瓜田後，蛇和鼠都減少了，證明耕植可
likes to grow banana and papaya, plants that do not need much 改善居住環境，許先生是以耕植來表達他對這地方的
attention. Once, Auntie Tai asked Mr Pang for the okra seeds 熱愛。
he bought from elsewhere. Eventually, the harvest went well,
and she shared the okra with her neighbours. Another time, a Many non-indigenous inhabitants (colloquially called
neighbour bought some pineapples to enjoy at home. Auntie Tai ‘incomers’ ) also farm on Lamma Island. David, for example,

picked up the discarded pineapple stems and put it into the soil.
The harvest was surprisingly good. It’s just that the wild boars
ate most of the pineapples unfortunately.
Auntie Tai recalls that she once got the seeds of sugar banana
tree from a female villager in Lo So Shing. Connie from Lo So
Shing recalls that her mother brought sugar bananas to Lo So
Shing from her home village in Guangdong. As we can see
sugar banana in the villages in Lamma, we begin to wonder if
these women spread this exotic plant in Lamma through sharing
seeds with one another.
P.109
grows Southeast Asian potted plants on his terrace and
rooftop (See P.66 David ). Simon, an incomer living in Chung
Mei Village, cultivates vegetables in the small garden in front
of his house. There was once a goldfish pond in the garden.
Simon filled it with soil and turned it into a garden field.
The lack of land has always been the major difficulty for
incomers to farm on the island. For that reason, David plants
in pots and Simon reclaimed the field from a pond. Mr Hui,
who lives in Mo Tat Village, is also an incomer. He rents a
house from an indigenous inhabitant and got the owner's
permission to revitalise the land covered by the remnants of
an ancestral house into a melon field. Mr Hui found that that
building remnants were breeding grounds for pests. Once he
turned the wasteland into farmland, pests have become less
common. This proves that planting can improve the living
environment. Mr Hui said that farming is the way to express
his fondness for the island.

Living off Land and Sea

靠山吃山、靠水吃水

娣姐的大樹波蘿，飄香處處。
The aromatic jackfruit planted by Simon的小園地。
Auntie Tai. Simon's small farm garden.
南丫說 :
採集海產資源

Lamma Mia
Collecting Marine Resources

南丫南段海灣多，村民也會以捕魚維生， There are many bays in South Lamma, and

通 常 是 划 小 船 在 岸 邊 放 網 捕 魚（見 P . 2 2 villagers also live off fishing. They usually row
〈陳子健〉)，昔日也有人用傳統捕魚法—— small boats to put nets (See P.22 Jackie Chan).
罾棚拗魚。村民也到海邊採集海產，視作 In the past they used the traditional tool—the
珍貴的生活資源。今日的南丫島民，不論 stationary lift net. Besides, villagers also pick
岸上、水上、外來的，亦到海邊採集水中 seafood along the shore. All these marine
資源，既視為樂趣，也傳承了離島人的傳 catches are precious living resources to the
統智慧。只要謹記不要過度捕撈便好。 islanders. Nowadays the islanders collect marine
resources mainly for fun. It is good to carry on the
traditional wisdom as long as we conserve these
resources wisely.

P.111
Living off Land and Sea
靠山吃山、靠水吃水

季節性生長的馬尾藻，島民俗稱海茜。不單為魚類提
供糧食，也是不少海洋生物的孕育場，有助維護生態
完整性。
Sargassum exhibits a strong seasonality in their
abundance. Not only a source of food for fish, but also
a breeding ground for marine creatures. Sargassum is
important to the integrity of the entire ecosystem.
南丫說 : 拗魚 用罾棚「拗魚」是傳統的捕魚法，在南丫島上已成絕響。 浸泥鯭 鯭 泥鯭是香港常見魚類，主要吃海藻生長，養分豐富的

Lamma Mia
Netting Fish 鹿洲村姚文輝記得兒時鹿洲村有兩個罾棚，是姚氏祖先遷 Catching Rabbitfish 水質有利藻類生長，故泥鯭常見於較混濁的海水中。
到鹿洲村時從廣東的鄉下帶來的傳統智慧，種田有米有 農曆四月孵出泥鯭苗，七、八月長至粗身，明年二、
菜，捕魚有肉，村民便可自給自足。其他村落也有用罾棚 三月最大條，淺海區一年四季皆有泥鯭。
拗魚的，聽聞有兩個在昔日西灣（即今蘆鬚城海灘）附
近，是蘆鬚城村民操作的；有一個在蘆荻灣，是那裡的村 浸籠是島上常見的物件，住在第三街的周樹齊和鹿洲
民操作的；另一個在索罟灣至模達灣之間一處石崖邊，是 村姚文輝，各自的家門前都放著幾個浸籠，往浸泥
一對在石崖頂住了很多年的夫婦操作的。 鯭時，周樹齊把浸籠放在索罟灣第一街的棚底、碼頭
或漁排，姚文輝則放在鹿洲灣海岸邊。籠裏放餌引
Fishing with the stationary lift net is a traditional approach 泥鯭游進去，捉泥鯭不費工夫，很多水陸居民都喜愛
that has long been obsolete. Yiu Man-fai, a villager of Luk Chau 這閒暇娛樂。索罟灣曾有店舖賣泥鯭粥，算是南丫島
Village, recalls that Yiu's ancestors brought this fishing method 土產。
to the village when they migrated from Guangdong. It appears
that other villages on the island also adopted the same method Rabbitfish is a common fish in Hong Kong that can be
for fishing. Some villagers recall that there were a stationary net found in shallow seawater all year round. Their eggs hatch
in Lo Tik Wan, two around the West Bay (now the Lo So Shing in the 4th lunar month. The fries generally grow into
Beach) and another along the cliff between Sok Kwu Wan and considerable size by the 7th or 8th lunar months and reach
Mo Tat Wan. their maximum size around the following 2nd or 3rd lunar
months.

Pots are commonly found on the island. As baits are put

inside the pots to lure rabbitfish, it requires no work to

P.113
catch them. Therefore, many people in Lamma, no matter
living on land or on water, are fond of this leisure activity.
村民掌握了海邊的水流方向，在魚群流經 For example, when catching rabbitfish, Chow Shu-chai
位置設罾棚，通常設在大石排上或石崖 would submerge a few pots under the stilt houses on First
邊。原理是用竹竿支撐一張方形漁網伸出 Street, the pier, and the fish rafts, while Yiu Man-fai dips his
海中，捕魚時先將漁網沉入水中，村民站 along the coast of Luk Chau Village.
在高處張望，見魚群經過時把漁網升高，
魚 群 便 落 入 網 中 ， 村 民 稱 做 「 拗 魚 」。 拗
魚時以槓桿原理扯網，罾棚的操作不盡相
同，圖中所示是其中一種操作方法。

Villagers set up lift nets at the spots where

the fish swim through, usually on sea rocks or
over the cliff. A stationary lift net is a structure
that uses bamboo poles to support a square
fishing net above the sea. When fishing, the
net is first submerged into the water, with
villagers standing on a high place to monitor
the operation. When they see fish passing
by, they will raise the net to catch the fish.

Living off Land and Sea

靠山吃山、靠水吃水

Although all stationary lift nets employ the

leverage mechanism, the operation of each lift
net varies. This illustration shows one of the
operating methods. 浸籠，魚由前面凹位入籠後便困於籠中。
After being submerged, the pot traps fish
that swims into the chamber from the
front entrance.
南丫說 : 大苔 長薄片狀的綠色海藻，在潮間帶依附岩石生長，農曆三、 沙菜 幼條狀的紅色海藻，長有一叢叢小分枝纏結成團塊

Giant Seaweed 四月是盛產季節，在淺水區浮沉可見。水面人喜愛用來煲
白豆糖水，有清熱袪濕功效。撈上岸後需要「漂白」去除
泥味，做法是反覆用淡水沖洗，在陽光下曬乾。水面人也
會將漂曬過的大苔賣給海味店，賣海味的Winnie說水面人
會曬製兩種不同漂白程度的大苔，一種偏綠色，漂曬一兩
日便可；另一種是白色，需漂曬四至五日。兩種乾大苔
是兩種口味，綠色大苔保留了大海的味道，味道較濃，
白色較味淡，各有特色。石斑吃泥鯭，泥鯭吃大苔，因此
有「有大苔就有石斑」之說。
Giant seaweed grows on the rocks in the intertidal zone. They
generally prosper in the 3rd and 4th lunar months and are often
seen floating in the shallow waters. Water people cook it with
mung bean soup for its heat-clearing and damp-removing effects
on human body. After being taken out from the sea, the seaweed
needs to be ‘bleached’, which means rinsing it with fresh water
and drying it under the sun repeatedly to remove the muddy
smell. Winnie, who sells dried giant seaweed in her seafood
shop, said the seaweed can be bleached into two variations: The
green type retains the taste of the sea and has a strong flavour;
whereas the white type has a more refreshing taste. While
Lamma Mia
Sea Moss 狀，藏有大量雜質砂石，需要極大耐性清洗，即使撈
了一大籮，經洗漂後會縮成一小撮，在乾貨店一斤售
價動輒上千元。對於模達村金蓮來說，沙菜確是無價
寶，只會送贈予親屬或熟絡的鄰居。有一回金蓮丈夫
忽然又痾又嘔，島上缺醫療設施，坐船到香港求醫又
恐怕遠水救不了近火，金蓮馬上用沙菜煲水，丈夫服
用後不久便「藥」到病除。以前金蓮及村民在海藻旺
季時定必前往採集，現在年紀大了，沒法再去了。
The sea moss is a tiny and bushy red sea alga which often
contains a large amount of sand and grit. Hence, it requires
tremendous patience to clean it. Usually, a large bunch
of sea moss shrinks significantly after cleaning and sun
drying. For that reason, its price can go up to thousands of
dollars per catty. To Grandma Kam Lin, a resident of Mo
Tat Village, the sea moss is an invaluable treasure. Kam
Lin's husband once felt sick suddenly and kept vomiting
and having diarrhoea. As medical facility on the island
was limited, she worried that moving her husband to the
hospital could not meet the urgency. She immediately
prepared sea moss soup as a cure. Surprisingly, her

groupers eat rabbitfish, the latter eats seaweed. Therefore, there
is a traditional saying that, “When there is seaweed, there must
be groupers nearby.”
P.115
husband soon recovered after taking this traditional
‘medicine’. In the past, Kam Lin and her fellow villagers
would pick sea moss every year during peak season. But
now they are too old for this labourious task.

新鮮沙菜
Fresh sea moss

Living off Land and Sea

靠山吃山、靠水吃水

大苔 沙菜乾
Giant seaweed Dried sea moss
南丫說 : 海茜 海茜即是馬尾藻，屬香港常見褐藻類，在礁岩邊生長，昔 魷魚 農曆四月至五月魷魚到達南丫島繁殖，南區海面晚

Lamma Mia
Gulfweed 日村民用來餵豬。每到海茜生長旺季，金蓮和村民會棹艇 Squid 上可見點點燈光，那是漁船正在作業，他們用燈光
去模達灣、銀洲、螺洲、蒲台島採集，用刀仔在水中的石 引魚，用圍網捕魚（見P.26〈水面人〉）
，通常捕獲吊
角面刮，因海茜依附在石上的部分太韌，無法徒手取出。 筒、大尾魷兩種。魷魚生長快，季初是小魷魚，季末
由於蒲台島較遠，金蓮每次棹艇去都會在島上住幾天，採 是大魷魚，生曬成大小不同的魷魚乾，水面人愛吃魷
集足夠份量後才回來。她將海茜洗漂、曬乾後，捲成一綑 魚蒸飯，小魷魚原隻或大魷魚切片，與生米齊落煮
綑儲存在石屋內，當沒有番薯葉餵豬，便把乾海茜用水浸 熟，方便快捷。香港水域內已禁止拖網作業，但外海
泡，用刀剁碎，再與米糠混和作飼料。金蓮說浸泡過的海 過度捕撈的問題嚴重，導致從外海游入香港水域的魚
茜滑溜，剁碎時一不留神會割傷手指。 量減少，不過，魷魚仍然是南丫島水域的主要漁藏
之一。
Gulfweed is a genus of brown macroalgae commonly found
along the reefs and rocks in Hong Kong waters; it was a common Squids often breed around Lamma Island between the 4th
feed for pigs in the past. In every growing season, Grandma Kam and 5th lunar months. During this period, the sea in South
Lin and other villagers would travel to Mo Tat Wan, Ngan Chau, Lamma is sprinkled with light spots at night—the gleam
Beaufort Island, and Po Toi Island by boat to pick the gulfweed. emitted from the spotlights on fishing boats. Fishermen
Since Po Toi Island is remote, Kam Lin would stay on the island practising purse seining use glare to attract squids and fish
for a few days every time to pick enough gulfweed before sailing (See P.26 Water People). Squids grow rapidly: while they
back to Lamma Island. After washing, rinsing, and drying the are still small in the early season, they grow into full size
gulfweed, she would roll them into bundles and store them in by the end of the season. These catches of various sizes are
a stone house. When there were not any sweet potato leaves to all sun-dried, and the water people often steam them on
feed the pigs, she would soak the dried gulfweed in water. Kam rice. Due to overfishing, the marine reserves have declined
Lin said that the soaked gulfweed is slippery and one must chop tremendously. Fortunately, squids remain the main fish

P.117
them with extra caution. stock in the sea around Lamma Island.

Living off Land and Sea

靠山吃山、靠水吃水

新鮮海茜 魷魚仔乾
Fresh gulfweed Dried squid
海洋與陸地的邊界時刻在變。正因為不同生境得以交疊，才令生態系統生生不息。
圖為南丫島某處寄生在潮汐帶的紫菜。
The boundary between land and sea is constantly changing. It is the interaction and
overlapping of various habitats that cause the ecosystem to thrive. Pictured here is
seaweed that grows on a seashore of Lamma Island.

潮汐辯證法：由加勒比詩人卡莫．布拉斯維特提出，以提供了西方二元對立的 Tidalectic: The Caribbean poet Edward Kamau Brathwaite deploys palimpsests, unusual
傳統辯證法以外的可能性。他運用重複書寫、切分節奏、省略音節等手法表達 syncopations and omitted syllables to evoke the incessant, irregular, generative movement
海浪反覆不定的動態。其詩作中呈現並提倡一種無視邊界、追求流動性的海洋 of the waves. Tidalectics offer an alternative to the rigid two-directionality of western
視角，述說一種不囿於加勒比地區、連結歷史進程與景觀的美學。 dialectic. He proposes and performs in his poems an oceanic worldview that does not
succumb to borders or yearn for certainty in static. It describes a nexus of historical
process and landscape that is peculiar but not limited to the Caribbean.
南丫說 : 島中之島： 人類紀：

Lamma Mia
奄美群島把鄰里理解為島。所以島與島之間是文化上的 地理學新名詞。指人類活動的痕迹已徹底改造地球，
相對關係，而不是地理上的絕對關係。 成為所有生物都身處其中的環境。影響對島嶼特別立
竿見影。例如不斷上升的水位和海水溫度；開採礦石
Shima-within-shima:
之後的水土流失和有毒物質外露；海洋垃圾進入食物
Amami Islands look upon their neighbours as islands. As such,
鏈等等。
the inter-island relationships are relative cultural association
instead of absolute geographical ones.
Anthropocene:
Anthropocene is a new term in geographical studies
which covers the utter transformation of the planet Earth
due to the effects of human activities, rendering it into an
environment where every organism in the ecosystem is
affected. The impact on islands is especially instantaneous,
as exemplified by the incessant rise in sea level and
ocean temperature, the soil erosion and leakage of toxic
substances from mining operations, and the introduction of
marine litter into the food chain.

P.121
從鹿洲村居民的涼棚，可遙望灣內漁排及對岸的蘆狄灣，海灣既自成一角，又互通有無。 像浮石的發泡膠，表面寄居著不少生物。
A pergola in Luk Chau, where one can enjoy a view of the mariculture rafts in the bay and Lo Tik Wan, on the opposite side. Similar in appearance to natural rocks, styrofoam wastes can be home to various creatures.
These corners are enclosed yet interdependent.
入島札記
Our Island
Journey
南丫說 :
搵吾島 Every time we launch a community art project, celebrating the Tin Hau Festival, dragon

Lamma Mia
we would keep reflecting on what we have been boating and guessing the riddles at Mid-

In Search of Our Own Lamma doing: what meaning does art have for the
community? Why do artists even need to step into
an unfamiliar community? Are they going to make
any difference? Have we made any contributions
to the community after all?
But once we are physically there, we would be
藝術到家 touched by their cultural ambience and history,
Art Together reminding ourselves yet again it is the communion
with people that we most cherish. Thus, armed
with our past experience engaging with nature,
land, coastlines and various communities, Art
Together has become the Art In-Situ Curatorial
Partner of the “Lamma Mia” Public Art Project.
In bringing art to Lamma Island, our purpose
is not so much for promoting local tourism or
community art, but rather, it is for featuring a
unique way of living which is closely intertwined
我們每次走入一個新社區策動社區藝 祝、端午節扒龍舟、中秋節迎月等等。沒有甚
with the land, the sea and the people living
Autumn Festival. To best know a place, there
is nothing more meaningful than living its
way of life, so we had four artists reside on
the island for three months to get a taste of
the local lifestyle. During their three-month
stay on Lamma Island, artists Brandon Chan,
Peggy Chan, Ho Yuen-leung and Humchuk
created, interacted and collaborated with the
residents, gradually fusing art into the lives
of the islanders and developing a better ear
for the many voices of Lamma, thus finding
their own Lamma. Starting off with sheer
imagination, directors Ma Chi-hang and
Cheuk Cheung and the nine artists/teams
(Martin Cheung, Lam Duen Shan Ming,
Kinchoi Lam and Jess Lau, Pauline Lam,
Shum Kwan-yi, Sharu B. Sikdar, Siu Wai-hang,
So Wing-po and Zhang Zhe) have engaged
in extensive conversations with the islanders
and explored the island to find inspiration.

P.125
術 項 目 時 ， 經 常 會 思 考：「 藝 術 對 社 區 麼比親身體會島上生活的在地性更有意義，所
there. Our interaction and collaboration with the With reference to the findings of the research
的 意 義 是 甚 麼 ？」、「 藝 術 家 為 何 需 要 以我們讓藝術家成為了短期的島民，一起飲
islanders have managed to bridge the gap between team, they were able to identify the unique
進 入 一 個 陌 生 的 社 區？」、「 他 們 又 會 帶 早 茶 、 到 泥 灘 挖 蜆 、 晚 上 遛 狗 …… 讓 自 己 融
artistic creation and community life, enhance our cultural, historical, and natural landscapes of
來 甚 麼 不 同？」、「 我 們 對 社 區 的 發 展 有 入島上生活，透過不斷交流溝通，漸漸聽到
knowledge of the local culture and history, reflect Lamma Island and come up with their own
用嗎？」…… 更多南丫島的「聲音」 ，不知不覺間對「島」加
on its unique locality and awaken people’s love for Lamma.
深了理解，更經歷了一場由「搵島」至「搵
their own neighbourhood.
但當我們親身走進這些社區時，總會受該 吾 島 」 的 過 程 。 四 位 駐 村 藝 術 家 陳 百 堅 、 陳
This Project is far from complete at this
處的人文氣息和歷史感染，這些人與人交 佩玲、何遠良和含蓄，花了三個月的時間進
For the greater part of this year, the curatorial moment, for we have just begun to slowly
流的痕跡，是我們所珍惜的。就這樣，藝 入 南 丫 島 社 區 生 活 、 創 作 ， 與 居 民 互 動 交 流
team and participating artists have lived among create, along with the locals, some distinctive
術到家帶著過往與自然、土地、海岸和 和合作，讓藝術、文化漸漸融入島民的生活
the locals and shared their way of life through memories of “Lamma Mia”. How could art
社 區 接 觸 的 經 驗 ， 成 為 今 次「 南 丫 說 ：」 之 中 。 卓 翔 和 馬 智 恆 兩 位 導 演 及 九 組 藝 術 家
fieldwork, interviews and other activities. We also possibly relate to a community? We look
公共藝術計劃的在地藝術策劃夥伴。 (張震揚、林斷山明、林建才及劉清華、林玉
had the privilege to take part in the local rituals forward to finding the answer with you all.
蓮、沈君怡、Sharu B. Sikdar、蕭偉恒、蘇詠寶
and festivities: writing Chinese New Year wishes,
以藝術介入被海洋包圍的南丫島，不只是 和張哲）由起初單憑想像，到親身與島民接觸
為了推廣地區旅遊或實踐社區藝術，更是 和溝通，探索島嶼尋找創作靈感，再參考研究
以在地的人、土地、海洋為主體的生活呈 團隊的研究成果，各自找到屬於南丫島的獨
現 。 我 們 透 過 與 島 民 的 對 話 、 交 流 與 合 特人文、歷史、傳統與自然景觀，拼合出「吾
作，跨越藝術創作與公共生活的邊界，鞏 島」的藍圖。
固地方知識文化和歷史，從地區本質去
思考其獨特性，喚醒大家對自己社區的 「南丫說：」整個計劃現階段不能說是完成，
熱愛。 只是剛開始，我們與島民慢慢地建立彼此屬
於「吾島」的記憶。藝術與社區之間的關係

Our Island Journey

這大半年，策劃團隊及藝術家們隨著一連 是甚麼？我們期待與大家一起尋找這個問題的
串 的 在 地 考 察 、 訪 問 及 活 動 ， 上 山 下 海 ， 答案。
入鄉隨俗。我們有幸參與島上仍保留著的
入島札記

傳統節慶習俗：新年寫揮春、天后誕慶
南丫說 :
在地紀錄 前期籌備 新年寫揮春

Lamma Mia
Initial Preparatory Work Writing Chinese New Year Wishes
Highlights of
Our Journey 計劃團隊及藝術家們透過一連串在地考察、
訪問及活動逐步融入社區，發掘關於南丫島
與島民一起過農曆新年，除了可彼此分享
節日喜悅，更讓團隊與義工們了解更多當
By joining the islanders in the Chinese New Year
celebrations, not only did the team and volunteers
在地的人、陸地、海洋為主體的藝術呈現。 地居民的生活，以便融入其中。我們帶著 share the festive joy, they also learned more about
文房四寶，走進索罟灣第一街，透過寫 life on the island and had a chance to immerse
The curatorial team and participating artists took 揮春與不同島民交流，並將新年祝願送給 themselves in it. We made our presence in First
steps to blend in with the community through 他們。 Street, armed with brush, ink and paper, and
a series of site visits, interviews and activities exchanged ideas with the locals and offered our
in their quest for artistic expressions that have best New Year wishes.
Lamma Island’s people, land and sea at its core.

1 2 1 2

P.127
3 4 3 4

1/ 2021年7月， 與南丫島南段鄉事委員會會面， 2/ 島民Jackie在漁民文化村上講解漁排運作。 1/ 我們邀請熱愛書畫的島民林先生在農曆新年一起 2/ 全記渡的胡先生與我們分享他家的持家處世之道 ——

簡介「南丫說：」公共藝術計劃內容。 Jackie, a local resident, explaining the operation of the 寫揮春，送給島民與商戶。 「和平」和「仁義」。
A meeting was held in July 2021 to introduce the fish rafts at Lamma Fisherfolk's Village. We invited Mr Lam, an enthusiast in Chinese Mr Wu of Chuen Kee Ferry shares with us his family
“Lamma Mia” Public Art Project to the Lamma painting and calligraphy, to write Chinese New motto and guiding principles in life – ‘peace’ and
Island (South) Rural Committee. Years wishes for local residents and shops. ‘kindness and righteousness’.

Our Island Journey

3/ 藝術家們上山下海體驗島上的生活， 4/ 策展團隊與藝術家透過工作坊互相交流創作理念及 3/ 陽光灑落在剛寫好的揮春上，為冬日海灣增添 4/ 路過的行山客都參與其中，即席揮毫。
圖為東澳石排灣。 對南丫島的想法。 色彩。 Passing hikers join in to write wishes.
The artists also explored the outdoors to The curatorial team and artists exchange creative The inlet livens up as freshly-written greetings
入島札記

experience the local life. Pictured here is concepts and ideas on Lamma Island in a curatorial bathe in the winter sun.
Shek Pai Wan in Tung O. workshop.
南丫說 : 慶祝天后誕 端午節計劃起動禮

Lamma Mia
Celebrations for Project Launching Ceremony
Tin Hau Festival at Dragon Boat Festival

入 鄉 隨 俗 ， 團 隊 參 與 了 索 罟 灣 盛 事 ── To follow local customs, the team participated in
天后誕。在疫情下島民依舊誠心拜祭， a major event in Sok Kwu Wan – Tin Hau Festival.
不少更帶著天后娘娘神像到廟供奉參拜， Despite the pandemic, the temple was teeming
廟內香火鼎盛。 with pious worshippers who brought along a
statue of Tin Hau to honour and give offerings to
the deity.
團隊於端午節當日與居民一同扒龍舟作為 On the day of the Dragon Boat Festival, the team
計劃的起動禮，活動前更特意向南丫島體 held a launching ceremony of the Project by
育會請教學習扒龍舟。 way of dragon boating along with the islanders.
We especially sought coaching advice from the
Lamma Island Sports Association before the
event.

1 2 1 2

P.129
3 4 3 4

1/ 勝叔為「 南丫說：」公共藝術計劃起動禮擇 2/ 團隊參與了拜祭天后儀式。 1/ 在南丫島體育會教練郭先生的指導下， 2/ 藝術家初嘗扒龍舟滋味，並與島民大合照留念。

吉時。 The team joins in the worship rites of the Tin Hau Festival. 藝術家專注地學習扒龍舟的正確姿勢。 Artists posing with local residents for a photo on their
Uncle Shing calls for an auspicious hour for the Artists learning dragon boating techniques under first dragon boating attempt.
launching ceremony of the Project. the coaching of Mr Kwok of the Lamma Island
Sports Association.

Our Island Journey

3/ 在廟前供奉大香，祈求天后娘娘保佑一切 4/ 藝術家手持由廟祝特別為我們準備的大香。 3/ 島上的小朋友參與繪製「南丫說：」的T恤。 4/ 經歷訓練後，眾人一起揮動龍舟槳，藝術家們都扒得
平安順利。 Artists offering incense to Tin Hau specially prepared by Children on the island join in the painting of 有板有眼。
Incense offerings in the forecourt of the temple “Lamma Mia” T-shirts. The crew proficiently brandishes their paddles in
入島札記

the acolyte.
to pray to Tin Hau for a smooth running of the unison after training.
Project.
南丫說 : 中秋索罟迎月夜

Lamma Mia
Mid-Autumn Festival
Celebration in Sok Kwu Wan

與島民交流中得知街坊早年會在索罟灣舉 Learning from the locals that there used to be Mid-

辦慶祝中秋的活動，因此十分支持舉辦中 Autumn Festival celebrations in Sok Kwu Wan, we
秋晚會。當晚在明媚月色下，一眾藝術家 thereby organised a special event in the front yard
與居民一起猜燈謎、看有關南丫島的電影 of Tin Hau Temple in the evening. Under a full
與舊照、提著燈籠遊遍索罟，場面熱鬧。 moon, artists and local residents came together,
solving lantern riddles, watching movies and
viewing photographs about Lamma Island, and
roaming Sok Kwu Wan with lanterns in hand. It
was one big party!

1 2

P.131
3 4

1/ 中秋節當然要猜猜燈謎，大人小朋友齊齊認真思 2/ 當晚的放映會播放了馬智恆導演的《街坊渡輪》和卓翔
考燈謎答案。 導演的《戲棚》(節錄)。
A must-do at Mid-Autumn Festival, grown-ups A screening of directors Ma Chi-hang’s Neighbourhood
and children rack their brains to solve the lantern Ferry and Cheuk Cheung’s Bamboo Theatre (excerpts).
riddles.

Our Island Journey

3/ 社區相展展出了南丫島的舊照，不少島民駐足 4/ 居民在藝術家陳佩玲創作的流動小車參加
細看，重溫舊日風光。 走馬燈工作坊。
The community photo exhibition shows old photos A resident participating in the carousel lantern
入島札記

of Lamma Island. Many local residents pore over workshop at artist Peggy Chan’s mobile cart.
them in reminiscence of days of yore.
駐留小記
Residency
Journal
入島札記 南丫說 :

駐村期間，帶著一隻自製的木狗遊街，的確 狗，牠們會離遠吠它和跑圈嗅它；也許藝術創
能夠打開和村民溝通的那一扇門，至少「傾狗 作所引發的想像，是能超越語言和物種之間的
陳百堅 經」、說說狗的故事，總比「嗨!我叫阿堅呀我 界限。
Brandon Chan 係……」來得有趣和輕鬆自然。
而輕鬆自然的，當然是因為我真係有養狗嘛，
有趣的是，村民們從熟悉的日常中，看到古 可以「傾狗經」之餘，還聽到很多關於狗的故
怪的畫面，然後能夠刺激他們的想像和思考發 事；而這些故事，又其實離不開是人的故事。
生。有人會問「你喺到做咩？」、「你做嚟做 晚 飯 後 放 狗 期 間 認 識 了 Sandy， 她 每 晚 都 會 來
咩？」，同時亦有人會說「哈哈，咁佢屙咗屎 餵浪浪們，她會拉著買餸車，帶著糧食、冰
未呀?」和「Can I pet it?」。當然，被刺激的不 塊、水和零食，來到同樣的位置，把食物分配
只是人，還有其他村民——島上的狗，遇見木 好、放置在不同的空間和角落，又會留意水兜
的水量、加入冰塊，有時候又把雞肉乾塊分享
搵嘢 給其他狗。

關 於 南 丫 南 的 狗 故 事 ， Sandy幾 乎 都 能 說 。 從
Object 打水灣、到索罟灣幾個碼頭、到大街二街三
街、天后宮到涌尾、甚至再遠一點或山上的
狗，哪隻是哪一戶人家的、哪隻是從哪邊來又
住哪裡、哪隻是哪幾隻的阿爸阿媽、哪隻曾經
重傷不治而哪隻又被好心人收養了、哪隻絕了
育而哪隻會準備捉……甚至是大大小小野孩子
們的性格情緒、習性喜好等等，她都能一一細
訴。從「狗」的話題打開對話，村民們分享著
他們和牠們的歷史文化、地理天文、日常習慣
和生活中的所有微敘事。

During my residency in Lamma, ‘walking’ the
wooden dog that I crafted was a great way to break
the ice with the locals. At least exchanging views
on ‘life with the doggos’ was much more natural
than opening with “Hi, my name is Brandon…”
First, what was interesting was that when the
residents realised the peculiarity of my act set in
an everyday scene, their imagination would be
stimulated. Some would just come up and ask,
“What are you doing?” and “Why are you doing
this?”. Others would chime in with “Ha ha ha! Has
it pooped yet?” or “Can I pet it?” Of course, not only
were the people fascinated, other inhabitants— dogs
on the island—would bark at it from afar and smell
it while running around it. Perhaps the imagination
triggered by artistic creation can transcend
languages and species.
All of this came off natural because I am a dog
keeper. Apart from sharing doggo life, I also heard
many anecdotes about dogs, which were also very
much human stories. My after-dinner strolls with
my dog brought me to get acquainted with Sandy,
who came every evening to feed the strays. She
would pull a shopping trolley laden with food, ice
cubes and water to the same place, meticulously
rationing out the food and placing them in various
spots. She would also check the water level in the
bowls, add the ice, and, at times, hand out chicken
jerky to those free-rangers.
Sandy knew almost everything about the dogs,
from those in Ta Shui Wan, to those roaming Sok
Kwu Wan, or even farther away or up on the hills.
She could tell which dogs belonged to which
families, where the dogs were from and where
they lived, which ones were the mums and dads of
other dogs, which ones got wounded so severely
they died, which ones got adopted, which ones got
spayed and which ones were to be rounded up…
She knew these feral little ones’ temperament and
habits, down to the last detail. At first just a chat
about dogs, the residents are indeed sharing their
culture, history, knowledge, daily habits and all
the fine details of life about them and the canine
community.

Our Island Journey P.135 Lamma Mia

入島札記 南丫說 :

一直對於海洋情有獨鍾，走到海傍吹吹海風， 想，看到島上大街盡處盛開的鳳凰花，來吧！
聽聽浪聲，豁然開朗。南丫島，看似熟悉的海 熱情擁抱南丫南 （哈）。
陳佩玲 島，卻與城市生活有著不同的生活氣息，好
Peggy Chan 奇的我想了解和感受關於這片海洋與土地的 自從在島上老是常出現，島民也開始認得我
脈搏。 們，大家漸漸熟絡。每天看著「河口」的潮汐
漲退，蘊含著豐富的生態系統，亦為這地供給
近年常討論藝術進入社區，如何不「空降」 資源。走過大街，看到島民在曬海星，細問下
呢？當然還有很多討論的空間，但最直接且 原來是水上人用來煲湯，清熱滋潤安神，回去
深入了解一個地方，是實實在在地在這裡生活 把星星飲落肚，好似幾浪漫。與島民交流過程
過，才可體會地方的獨特性。但繁忙的城市 中，發現島上生活一點也不簡單，充滿山與海
裡，香港藝術家為生活，也是營營役役，要求 的生活智慧。
他們專心駐留，相信是件奢侈的事，最後沒多
搵野 在島上互相幫忙是很常見的，遇上每一位也
很熱心親切，少了城市裡的隔膜和陌生。為製
造多些機會與島民互動，將「百樣生態」工作
Wildlife 室，製作成流動車，甚至千辛萬苦把車架運入
南丫島組裝，這又令我學懂了在島上生活，要
搭「全記」渡輪。流動工作車之後將遊走於大
街和天后廟空地，看看島上生活與藝術創作的
想像會有怎樣的化學作用！ 期待吧!

I have always loved the sea. Everything around
me brightens up when I feel the gentle sea breeze
and listen to the lapping waves. Lamma Island,
a seemingly familiar place, actually nurtures a
distinctive way of life. I am curious to feel the pulse
of this swathe of land and sea.
There has been a lot of recent discussions on how
to bring art into a community in a non-intrusive
way. The most direct way to know a place in depth
is to reside there to experience its uniqueness.
Residing exclusively on the island is probably a
luxury for artists living in a bustling city like Hong
Kong. Yet in the end, when I saw the flame of the
forest in full bloom on the island, I told myself,
“C’mon, let’s embrace South Lamma!”
As we visited the island more often, the residents
began to get acquainted with us. Every day we saw
the tide coming in and ebbing, bringing with it rich
ecological resources for the island. In the streets,
we saw residents sun-drying starfish, and were
told water people use it to make a soup to clear
heat and calm the nerves. The idea of ‘ingesting
stars’ actually sounds rather romantic to us. Life on
the island is not as bland as it seems, but is full of
wisdom of nature.
A helping hand is always around the corner on
the island. Everyone we meet is warm and affable
unlike the city. In order to interact more with the
locals, I have put my Hundred Species workshop
on wheels and transported the wooden cart to the
island. I have also learned to live the Lamma way,
taking rides on Chuen Kee Ferry. Later the mobile
workshop will roam the island. How I look forward
to the chemistry between life on the island and the
artistic endeavours!

特別鳴謝張哲小朋友幫忙維修流動車。
Special thanks to my young friend Akira
Cheung for fixing up my mobile cart.

Our Island Journey P.137 Lamma Mia

入島札記 南丫說 :

早 上 七 點 半 ，「 豬 扒 煎 雙 蛋 ， 蛋 要 熟 一 點 ， 為了找一個切入點和村民溝通，駐村期間的每
凍齋啡走甜。」 朝早上七點半，我都會在一間茶餐廳吃早餐。
含蓄 茶餐廳是「收風」的好地方：上班族會途經買
Humchuk 南丫島的榕樹灣每個周末堆滿遊客，流連於文 杯咖啡才上船、酒樓老闆會悠然地吃早餐、
青小店、打卡熱點。相隔個多小時山路的索罟 島上清潔工會吃個早飯才開工，年紀大一點的
灣是完全不同的海灣，只有一條海鮮酒家街， 退休村民也喜歡叫碗麵，大家聚在一起談天說
街上除了吃海鮮的遊客，平日最多的是入島工 地，說一些對他們來說無關重要的事。我吃著
作的酒家侍應。到了晚上酒家關門，街上幾乎 豬扒煎雙蛋，喝一口凍齋啡，如獲至寶地拿出
沒有人。年青的村民早上乘船上班，晚上乘船 電話抄寫他們的對話。
回家，年紀大一點的，每星期兩三天乘街渡去
香港仔買生活所需，其他時間也甚少出沒。 他說他銀包有現金就不會搭船出島，卻為了手
機遊戲課金要出香港仔交電話費。
搵人
他說島上的貓被蛇吃掉，被狗咬死，被「鬼」
收養的故事。
People 他說他那買餸車的新功能，卻嘆氣自己不懂用
電腦網購，要哀求鄰居幫手。

有時入島工作的清潔工叔叔會拿著當天的報紙
給村民，有時會是一、兩袋點心，幫村民買東
西令他們有看報紙吃點心的機會。流水式的早
餐時段，故事聽得差不多，我就拿著筆記回去
整理。這些看似無關痛癢、沒有邏輯的日常小
事，在溫柔地訴說索罟灣的生活面貌。

It’s 7:30am. “Pork chop, two fried eggs well done,
and an iced black coffee.”
Unlike Yung Shue Wan, which is packed with
tourists every weekend, there is only one main
street in Sok Kwu Wan where seafood restaurants
are located, and most of the people on this street
– besides the tourists getting their fill of seafood
– are outsiders who have come to work as waiters
on the island. By night, when the restaurants are
closed, the street would become almost deserted.
Young villagers take the ferry to the city to work
in the morning and return home in the evening.
Elderly villagers take the ferry to Aberdeen two
or three times a week to buy things they need, but
otherwise rarely leave the island.
In order to find a way to strike up a conversation
with the villagers, I would take my breakfast at
a cha chaan teng (Hongkong-style café) every
morning at 7:30 during my residency. It was a great
place to catch up on the topical issues of the island
community. Here, office workers would stop by
to buy a cup of coffee before boarding the ferry;
owners of Chinese restaurants would sit down for a
leisurely breakfast; the island’s cleaners would drop
in for an early full meal before starting work; and
the elderly retirees would order a bowl of noodles.
Everybody gathers together and makes small talk
here. While having my breakfast, I would take down
what they say, feeling totally gratified by the juicy
tidbits.
One said he wouldn’t leave the island unless he
needs to withdraw cash or top up his mobile game
credits. Another told tragic or horror stories of
cats on the island. And yet another boasted about
his new shopping trolley, but lamented about not
knowing how to shop online and having to turn to
his neighbour for help.
Sometimes the cleaning workers who come to the
island to work would bring in the day’s newspapers
and some dim sum for the villagers. Having
heard enough of these stories, I would head back
to organise my notes. These little snippets of
everyday living, typically without rhyme or reason,
tenderly shape and form the many facets of life in
Sok Kwu Wan.

Our Island Journey P.139 Lamma Mia

入島札記
某 天 早 上 ， 南 丫 島 居 民 Eric帶 我 拜 會 了 林 先
生。林先生養蜂種田，曉得書法字畫，還出版
何遠良 過風水著作。我們坐在林先生家門前的小懸崖
Ho Yuen-leung 上品茶談天，上有大樹遮陰，旁邊有山水小
溪流淌，前面一望無際，天空海闊，整個格局
恍如活在世外。林先生並不吝嗇給我倆指點迷
津，分別是開發養殖農耕事業和披上道袍做廟
祝。林先生向我倆詳細分析了他的見解，我認
為都非常精闢和有見地。臨行前還送我一副十
分有趣的廁所對聯，讓我們笑破肚皮地離開。
一天中午，在天后廟前的彎角上，遇見島民添
搵地 哥的工程團隊正在進行挖路工程，行人路的中
Land
One morning, Eric, a resident of Lamma Island,
took me to meet Mr Lam. A beekeeper and farmer,
Mr Lam is proficient in Chinese painting and
calligraphy, and has published a book on feng shui.
We sat on a small cliff in front of his house and
chatted over tea. Mr Lam generously offered us
his guidance and gave us two pieces of advice –
“start an agriculture business” and “put on a Taoist
robe and become an acolyte”, which I found really
insightful. He even gave me a humorous couplet
for the toilet as a farewell gift, and we parted ways
with a good laugh.
One afternoon, I came across a group of
construction workers near the Tin Hau Temple –
led by an islander named Tim – carrying out trench
works. A trench had been dug in the middle of
the pavement, and the stereo nearby was playing
Cantopop from the ’80s. “This trap, this trap, I am
the one who fell into it...” Staring at the hole in
the ground, I suddenly spaced out. It was as if my
mind had drifted back to that time period through
the trench. When I came back to my senses, the
team had already dug from the pier to Lo So Shing,
Our Island Journey P.141
南丫說 :
央有一條坑，旁邊的音響正在播放八十年代的
金 曲 ，「 這 陷 阱 ， 這 陷 阱 ， 偏 我 遇 上 …… 」 ，
看著地上的坑，我突然呆了一陣，思想彷彿穿
過地坑回到當年，遊歷了一段時間，幸好沒有
因 此 而 掉 入 陷 阱 。 隱 約 之 中 聽 到 Beyond的《 海
闊天空》才回過頭來，工程團隊已由碼頭挖到
幾公里外的蘆鬚城去了。一時之間，陷進了時
空迷悟的狀態中。想起來在南丫島搞工程，常
有音樂陪伴左右，又別有一番滋味在心頭。
說起挖坑，世事也真巧合，在大街上重遇了多
年沒見的老朋友，他因工作關係來到索罟灣蘆
鬚城挖坑，不同的是他在挖掘遺址。考古團隊
的發現把索罟灣的歷史推前到唐代，朋友說了
好幾次過幾天考古工作便結束，但我每隔幾天
去看一次，工作並未完結，那個坑還愈來愈
深。一次站在旁邊看個究竟，正好聽見有位小
朋 友 好 奇 地 問 他 媽 媽 ：「 這 個 坑 是 用 來 幹 甚 麼
的呢？」，他的媽媽很快地回答道：「大概是養
魚 的 吧 ！」， 可 見 那 個 坑 真 的 深 得 令 人 產 生 誤
會。原來每挖深一層都有新發現，據了解現在
已挖到石器時代了 。
索罟灣似乎埋藏了很多未說完的故事，有待我
們接下來慢慢發掘。
which was a few kilometres away. For a moment, I
found myself in a state of temporal confusion.
Speaking of digging, I coincidentally ran into an
old friend who I haven’t seen for years on the main
street. He was here to do some digging of another
kind – for archaeological research. The findings of
the archaeological team pushed the history of Sok
Kwu Wan back to the Tang Dynasty. My friend had
said several times that the excavation would be
over in a few days, but I visited the site every few
days and only found that the pit was just getting
deeper and deeper. One time, I heard a child ask his
mother curiously, “What is this pit for?” His mother
quickly replied, “It’s probably for fish farming.” It
goes to show how deep they had dug to cause such
a misunderstanding. As it turns out, the deeper the
team dug, the more discoveries they made. From
what I understand, they have now reached layers
that date back to the prehistoric Stone Age.
Sok Kwu Wan seems to harbour many untold
stories – we will have to come and slowly discover
them ourselves.
Lamma Mia
南丫說 : 藝術家深入探索南丫島的山、岸、海與陸地

Lamma Mia
的微妙關係，創作出屬於這個島嶼的作品。

Through exploring the intricate relationships

between the hill, the coast, the sea and the land,
the artists have created a constellation of artworks
belonging to South Lamma.

山—岸 岸—海 海 — 陸地
Hill — Coast Coast — Sea Sea — Land

P.143
陳百堅 Brandon Chan
陳佩玲 Peggy Chan 林建才及劉清華 Kinchoi Lam & Jess Lau
林斷山明 Lam Duen Shan Ming
卓翔 Cheuk Cheung
何遠良 Ho Yuen-leung
張震揚 Martin Cheung 馬智恆 Ma Chi-hang
含蓄 Humchuk
林玉蓮 Pauline Lam
Sharu B. Sikdar
蘇詠寶 So Wing-po 沈君怡 Shum Kwan-yi
蕭偉恒 Siu Wai-hang

張哲 Zhang Zhe
作品簡介
About the
Artworks
南丫說 : 何遠良 「索罟灣的居民親切友善，好多時會招呼客 靠山吃山，靠水吃水，南丫島 Lamma Island is rich in natural

Lamma Mia
人入屋，這種親切的款待方式一定要給好多
Ho Yuen-leung 擁有豐富的天然資源，山澗小 resources, but while teeming
個讚。」
溪隨處可見，但當地食水的供 with streams and creeks, its local
“The residents of Sok Kwu Wan are friendly and 給卻仰賴著彼岸的水塘提供的自 water supply depends on tap
affable; very often they would invite visitors
來水。有見及此，藝術家何遠良 water channelled from reservoirs
into their own homes. I greatly appreciate their
across the sea. As a saying in
提倡「一方水土養一方人」，他
01
hospitality.”
Chinese goes: “Feed yourself
主張活用當地資源以重新建構
from the mountains if you
島民身份和在地意識。他的創
live near mountains; and feed
作意念主要圍繞水和空氣兩大 yourself from the waters if you
範疇，計劃在島上進行可持續 live near the waters”, artist Ho
的社區耕作，探索島上的水資 Yuen-leung advocates the notion
源，嘗試培養出地道食材。他

索罟社區菜園
of self-sufficient living, with
同時與島上居民合作以種植來 the belief that local resources
提升空氣的含氧量，又為他們提 should be tapped into the

Sok Kwu 供日常方案以減少污水排放，希

望達至「保水養地」，加強人
reconstruction of identity and
sense of locality of the people

P.147
Community Farm 與大自然的連結 。 living on the island. Air and
water are two main themes in
his creative concept: plans are to
conduct sustainable community
farming on the island, explore
its water resources and grow
local produce. He works together
with local residents to raise
the oxygen level of the air by
planting, and devises practical
plans to reduce sewage discharge
in the hope of preserving the
water resource and nurturing
the land, a move to enhance the
bond between man and nature.

About the Artworks

作品簡介
南丫說 : 陳百堅 「駐村期間，從好多南丫南嘅居民口中聽過唔 藝術家陳百堅以想像和現實交 Artist Brandon Chan’s story is

Lamma Mia
少關於深灣同綠海龜嘅舊故事同新想像，無
Brandon Chan 織出故事，轉換成充滿遊戲玩 a cross between imagination
論如何，我由衷地希望總有一日，會再有小
綠海龜喺深灣沙灘上破蛋出世，游向大海。」 味的藝術表述。來到南丫島，他 and reality, which transforms
想像自己跟島上的狗狗們深夜 into a playful artistic narrative.
“During my residence on the island, a lot of locals
漫遊索罟灣及附近地方，以靈 He imagines himself roaming
have shared with me stories and imaginations
around Sok Kwu Wan and its
敏的聽力尋找、蒐集各種鮮為
02
about Sham Wan and the sea turtles. I sincerely
hope that one day there will be baby sea environs at night with dogs
人知的聲音。駐村期間又藉著
turtles hatching and heading out to the sea on the island, looking for and
from there again.” 與村民一起遛狗，聆聽島上狗
collecting various kinds of
狗的故事，從另一種角度認識 sounds that are rarely noticed.
南丫南。除了一隻隻狗狗造型 During his residency on the
的裝置外，觀眾亦可跟隨藝術 island, through walking his dog
家製作的聲音地圖，在島上遊 and chatting with the villagers,

夜靜時聞索罟犬
走並尋找各種聲音的來源地， he heard stories about dogs
讓人們以聽覺重新發現及認識 on the island. It turned out to
小島的微敘事，想像從夜靜中 be another way to get to know
Listening to 聆聽南丫南的 聲 音 。 Lamma. Apart from seeing

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installations of dog sculptures,

Sok Kwu Dogs at Night visitors can also explore the

island and trace the sources of
the various sounds following
the artist’s sound map, imagine
being in the quiet of the night
and re-discover stories of
Lamma with their ears.

About the Artworks

作品簡介
南丫說 : 林建才與劉清華 「入得島愈多，發現島民放響口邊嘅詞彙我 除了地理上四面環海，南丫島 While surrounded by the sea in

Lamma Mia
哋 都 唔識，好似『攞條花尾』、『出去圍罟仔』
Kinchoi Lam and 也 有 另 一 片 海 —— 旗 海 。 每 逢 節 a geographical sense, Lamma
之類。裡面包含住島民嘅生活文化同歷史，比起
慶，天后廟前飄著色彩繽紛、 Island can also find itself among
Jess Lau 文獻上記載嘅嚟得有趣同活！」
a sea of flags at times. On festive
印有不同祝願語的三角旗幟。
“The more we visit the island, the more we realise
藝術家林建才與劉清華以傳統旗 occasions, colourful burgees
our ignorance of the islanders’ everyday lingo.
printed with auspicious texts
幟作為原型，印上島民常用、
03
Those words are indeed the embodiment of the
lifestyle, culture and history of the residents, are flown at the front of the
但對都市人來說的陌生字詞，
and are far more interesting than the textual Tin Hau Temple. Using the
descriptions on paper.” 如 「 駛 風 」、「 搖 櫓 」 等 。 旗 幟
traditional burgee as blueprint,
飄揚，讓人「看見」海風。 artists Kinchoi Lam and Jess
Lau created their own, printed
藝術家另以索罟灣遊樂場的廢 with Chinese characters such as
棄長椅做支架，換上漁民常用的 saifung (get under the sail) and

看見風：旗旛及長椅
杪木條，再嵌上從南丫島岸邊 jiulou (sculling), terms familiar
收集的磚瓦碎片，讓觀眾聽著海 to the islanders but new to city
浪拍打的聲音，坐在岸邊細細 dwellers. The sea breeze is
Visible Wind: 閱 讀 藝 術 家 創 作 的《 南 丫 南 俚 語 ‘seen’ when the burgees flutter.

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字 典 》， 感 受 南 丫 島 的 一 點
Burgees and Benches 一滴。 Using abandoned benches from
Sok Kwu Wan Playground as
frames, the artists outfitted
them with narrow strips of
marine timber commonly used
by the fisherfolk and further
decorated them with inset of
shards and broken tiles picked
up along the shores of the
island. Feel the vibes of Lamma
Island as you listen to the gentle
lapping waves and read The
South Lamma Slang Dictionary
while resting on the bench.

About the Artworks

作品簡介
南丫說 : Sharu B. Sikdar 「在我認識你短短的時光裡，你常以熱情款待 位處都市邊陲的南丫島仍保留 Lamma Island, situated on the

Lamma Mia
我。每次到訪，我總發現天空比先前更明亮，
很多原生的自然面貌，從高空 periphery of Hong Kong, retains
草也變得更翠綠。狗吠、鳥叫及蟲鳴像在問
候我。泥土、青草和燒柴的氣味讓我恍如回 俯瞰，島嶼的大部分面積依然 much of its natural features,
到母親的家鄉，勾起我對童年的懷念。」
為蔥鬱的林木所覆蓋，這種與自 with most of its land area still
然的共生關係深深引起了印度菲 covered by lush forest. Sharu B.
“In the little time I’ve known you, you have graced
Sikdar, an Indian Filipino artist
律 賓 裔 藝 術 家 Sharu B. Sikdar的
04
me with your warm welcome. On days I’ve
travelled to see you, the sky is always brighter who is characterised by her
興趣。因為蕉樹與其家鄉文化 的
and the grass greener than ever. The dogs, birds use of natural objects, is drawn
and insects call out in greetings. The smell of dirt, 聯 繫， Sikdar選 擇 以 索 罟 灣內隨
to the peaceful co-existence
grass and burnt firewood often brings me back 處可見的蕉樹進行創作，延 續 過 with nature on Lamma, and has
to my mother’s hometown. A nostalgia of my
childhood.” 往運用自然物件作為創作媒介 chosen banana leaves that are
的個人風格。她透過島民的協 easily found in Sok Kwu Wan as
助收集蕉葉，並邀請他們共同 her creative medium to evoke
製作蕉葉風車。當輕柔的海風吹 a connection with her native
動着連串的風車，旋動的蕉葉為 culture. Involving the locals

葉慢漫
島上的居民與遊人轉出一圈圈 的 to help collect banana leaves,
祝福。 Sikdar also invites them to

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craft pinwheels with her. When

Turning Leaf the gentle sea breeze spins the

pinwheels, they bring rounds
and rounds of well wishes to
residents and visitors alike.

About the Artworks

作品簡介
南丫說 : 蘇詠寶 「每次去南丫島三十分鐘嘅船程，都好似進行 南丫島的生態資源豐富，動植 Rich in ecological resources,

Lamma Mia
reboot更新一樣，放低城市嘅節奏、清理腦內
So Wing-po 物品種繁多。藝術家蘇詠寶在 Lamma Island is home to a
嘅老化細胞。船內一些島民乘客，看來年事
已高但能量滿溢，彷彿時間能夠喺呢個島嶼 島的四周收集植物、海藻及菇 wide variety of flora and fauna.
上延長。」
菌等各色物種，並對其進行細 Artist So Wing-po collects
胞 脫 除 ── 一 種 再 生 醫 學 技 術 。 different species of plants,
“Every 30-minute ferry ride to Lamma is a much-
algae and fungi from around
被去除活細胞與蛋白質的物種
05
needed reboot for me — putting behind the hustle
and bustle and clearing some dying brain cells. the island and subjects them to
呈半透明的奇特狀態，連同相
Some islanders on the same ferry may be in their decellularisation – a biomedical
senior years but they are indeed full of energy, 關的虛構故事集展示於索罟
engineering process. Having had
as if time on the island could be prolonged.” 灣島上，邀請觀眾一起編想隱 their living cells and proteins
匿於日常的平行世界。餘下軀 removed, the organisms are
殼的物種像休眠般蟄伏於容器 left with a somewhat odd, and
中，彷彿伺機進行再細胞化， pale translucent appearance.
以轉喻的方式連繫着那座隱形 Together with a collection of
的島嶼。 related fictitious stories, the

透明島嶼
de-celled organisms are on
display in Sok Kwu Wan, where

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visitors are invited to enter

Invisible Island the imaginary parallel world

hidden from everyday life.
Lying dormant in containers,
the remaining scaffolds of the
de-celled organisms seem to
be in hibernation, awaiting
their opportunity to be
repopulated with living cells
and connect metonymically
with the invisible island.

About the Artworks

作品簡介
南丫說 : 林斷山明 「交換瓷器的計劃令我更了解南丫島上的風土 南丫島上的日用品來之不易， Daily necessities are difficult

Lamma Mia
人情，瓷器雖然破裂了，但也有它的故事。」
Lam Duen Shan Ming 故此居民十分珍惜資源，會於 to come by on Lamma as there
“Exchanging porcelain plates with local residents 社區內交換物資，減少浪費之 are no supermarkets and
allows me to better understand the island and her 餘更有助互相連結。廣彩藝術 transportation is constrained.
people. Each broken piece comes with its own
家林斷山明受島民以物換物的 Cherishing every bit of
precious story.”
resources, Lamma residents
生活方式所啟發，向海鮮酒家
06 收集破損的瓷碟加彩翻燒，再
以自製的瓷碟作交換。他將收
often exchange with each
other what they have and
what they need, which not
集回來的碎片再凝在樹脂長凳 only reduces waste but also
內，為看似走至終結的器皿再 strengthens the community
次賦與新的意義，亦可視為一 spirit. Inspired by the practice
種自我接納的 過 程 。 of bartering, guangcai artist
Lam Duen Shan Ming collected
在疫情下，南丫島的自然環境 damaged ceramic ware from

浪花 成為一處郊遊避疫的空間。林
斷山明為此創作了瓷磚畫，捕
a local seafood restaurant in
exchange of porcelain plates he

P.157
Flowers in the Wave 捉了波濤洶湧的浪花隨時間變
得平靜，猶如窘境下的人們在
crafted himself. The porcelain
shards were touched up, fired
山澗海洋中重 拾 平 安 。 in a kiln again and set in resin.
The ceramic art installation
gives a new lease of life to the
formerly obsolete tableware
as a way of self-acceptance.

The artist also finds the natural

environment of Lamma a shelter
from the pandemic and therefore
created a hand-painted ceramic
tilework to capture the peaceful
moment when raging storm
of waves subsides and the sea
becomes calm again, bringing

About the Artworks

tranquility and peace to people
in the current predicament.
作品簡介
南丫說 : 沈君怡 「依傍著岸邊，你的土地順著海床一直延綿至 穿梭於漁排的小艇、巨型的貨 Lamma Island’s seascape is no

Lamma Mia
我們腳下；沿著水平線，你的記憶隨著浪花
Shum Kwan-yi 船、緩緩泊岸的街渡，南丫島 stranger to all sorts of vessels:
漂洋到何地？」
的日常地景中總會出現各式各 small boats plying between
“Your land extends from the seabed right up to 樣的船隻。藝術家沈君怡以此 the fish rafts, huge container
our feet on the shore. Where have your memories
作為創作起點，參考了與島民 ships, and ferries docking at
drifted with the waves along the horizon?”
the piers. After referencing
生活有關的船舶樣式，製作出
07 六「艘」形態各異的互動玩具
船裝置，並邀請島上居民為船
styles of vessels pertaining to
the daily lives of the islanders,
artist Shum Kwan-yi created
身着色。作品停泊在天后宮前 installations of six different
的空地，讓路過的小朋友在天 forms of interactive toy vessels
后娘娘的蔭庇下一嘗「駕駛」 and invited the residents to
船隻的趣味，在遊戲中將整片 colour them. These pieces are
空地化成大海，以想像力打破 ‘moored’ at the forecourt of the
水限與陸界！ Tin Hau Temple so that children

島上航遊 passing by can try their hand

at piloting a boat under the eye

P.159
Sailing on the Island of Tin Hau, turning the entire
space into an imaginative sea.

About the Artworks

作品簡介
南丫說 : 含蓄 「駐留的一個早上，有位村民急步走進餐廳 隨著四時更替，南丫島的海風 With the change of seasons, the

Lamma Mia
『要份奶占多，熱奶茶！』
Humchuk 會有不同變化，連帶島上的活 winds around Lamma Island
全場食客同時回應
『唔急呀！』 動也隨之轉變。藝術家含蓄於 and the activities on land also
『有排都未遲！』
駐村期間觀察南丫島的日常： take a different turn. During
『仲有十分鐘慢慢啦！』
穿梭於島與島之間的船隻、海 his stay on the island, artist
『慢慢坐下先！』
Humchuk enjoys observing the
上的漁排、島上的山林樹木和島
08
『我同你睇住隻船！放心啦!』
每次吃著早餐聽他們的日常，都會發現索罟 daily scenes on Lamma: sea
民的生活步伐，啟發他透過風
灣村民的可愛。」 vessels that ply between islands,
鈴裝置的聲音彰顯無形的海風，
fish rafts in the sea, lush green
“One morning during my stay in Lamma, I saw a 串連南丫島的節奏。同時，他 woodlands, and the pace of life of
local rush into a restaurant and order breakfast as
he was trying to catch the ferry. All the customers 收集島民的生活小記，配上插 its residents. These have inspired
inside responded in unison, telling him to sit 畫，讓觀眾一邊享受舒閒的風 the artist to feature the sea
down and relax, as they would keep an eye on the
鈴聲，一邊閱讀屬於這島嶼的 breezes and the rhythm of the
ferry for him. Hearing their everyday conversation
during breakfast time, I found people living in Sok 故事。展覽期間將有風鈴製作 island through the sounds of his
Kwu Wan so friendly and amicable.” 工作坊，參加者可把風鈴聲帶 wind chime installations. He has

島敘節。奏
回家，回味南丫 島 的 節 奏 。 also collected anecdotes from
the local residents and enlivened

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them with illustrations —

Island Rhythm visitors can take in the soothing

wind chime sounds while
reading stories about the
island. During the exhibition,
there will also be wind chime
making workshops where
participants can take home a
part of Lamma and reminisce
about its gentle pace of life.

About the Artworks

作品簡介
南丫說 : 陳佩玲 「 駐留南丫南，除了往海裡去，還會往山上走， 索罟灣天后宮供奉著一條長近 In the Tin Hau Temple at Sok

好山好水好空氣，每事每物環環相扣，互相
Peggy Chan
牽引。藝術可以為島上帶來甚麼？希望在地
的人，更熱愛這地，探索人與大自然的關係，發
掘地方獨特的可能性。」
“During my stay on the island, I would go up to
09
the mountains and down to the sea, and admire
the wonderful environment in Lamma, where
everything in nature is closely linked to one
another. One may wonder what changes art could
bring to the island, but I just hope it will make
the locals love this place more, prompting them
to explore the relationship between human and
nature, and the uniqueness of the place.”
Lamma Mia
兩 米 的 銀 龍 魚 標 本 ， 這「 神 獸 」 Kwu Wan, a two-metre specimen
據聞能為信眾帶來好運，它的 of the giant oarfish is enshrined
奇特外形同時深深吸引著藝術 and acclaimed by the locals as
家。島上生活與自然生態關係 ‘the Silver Dragon’. Devotees
believe that this ‘divine creature’
密不可分，陳氏向來關注人、
brings them good luck. Peggy
地域與自然的命題，她於駐留
Chan, an artist who focuses on
期間特設流動「百樣生態研究
propositions of humans, terrain
室 」， 訪 問 及 記 錄 居 民 對 於 島 上 and nature, is deeply attracted
生物的記憶及想像，同時收集 by the giant oarfish’s unusual
素材，將不同元素的圖像分割、 appearance. Considering the
重構和融合，以「藍曬」顯影 close relationship between life

島國異獸
技術及拼貼創作，製作成奇幻 on the island and its natural
的「島國異獸」標本。她更將 ecology, during her stay on the
這 些 碎 片 影 像 延 伸 創 作 成「 萬 花 island, she set up the Hundred
Fantastic Creatures 筒」裝置，透過不斷變幻的投 Species Experimental Studio to

P.163
影展現萬物平等且生生不息的 collect memories and fancies of

from the Island 概念。 the local community about the

living things on Lamma, and look
for elements for her creation of
whimsical creatures assembled
from the bricolage of cyanotype
prints. These fragmented
imageries are further
transformed into a kaleidoscopic
installation, where the
constantly changing projections
signify the circle of life and
the concept of biocentrism.

About the Artworks

作品簡介
南丫說 : 張哲 「期望香港鄰近較多居民聚居的離島如南丫島 據居民的訪談記錄，早期的南 In the past, people living on

Lamma Mia
設有具特色的藝術館，除可加強旅遊特色亦
Zhang Zhe 丫島以農耕、蒙養牲畜為生。 Lamma reportedly used to
可參與及觀賞藝術。」
藝術家張哲透過設置期間限定 engage in farming and raising
“I hope outlying islands of Hong Kong with a 的展館展出一系列動物雕塑， livestock for living. To respond
sufficiently large population such as Lamma
藉以回應昔日的農耕歷史，亦 to the island’s agricultural
Island would have their own art museums one
history, artist Zhang Zhe has set
聯同三位從事創作的南丫島居
10
day. This will encourage art appreciation and
participation apart from adding touristic value up a ‘pop-up expo’ for the display
民分別在不同的展期舉辦展
to the place.” of a series of animal sculptures.
覽，將藝術注入休閒的離島生
Zhang unconventionally uses
活。張哲放棄木材、金屬等傳 cardboard for his sculpture in
統物料，改以咭紙製作雕塑， place of traditional mediums like
紙料經過上色、氧化、鐵線加 wood and metal. After colouring,
固等工序，被巧妙地製成各種 oxidising and reinforcing with
鏽 漬 斑 斑 的「 金 屬 」走 獸 ， 遊 走 wires, cardboard is ingeniously
於輕盈與沉重、工業與農耕之 shaped into various animals

南南丫展館
間，以藝術打 開 對 話 的 可 能 。 with a rusty metallic look to
wander freely between light

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and heavy, industrial and

Shima Expo agricultural. The expo itself will

also be used to showcase works
by three islanders engaged
in the creative field, thereby
opening up a dialogue with
art on this tranquil island.

About the Artworks

作品簡介
南丫說 : 馬智恆 「這幾個月來，與無數的街坊傾偈閒談， 渡輪是南丫島居民日常往返市 The ferry is the only means of

Lamma Mia
收錄不少有趣的奇聞軼事。尤其感激
Ma Chi-hang 區唯一的交通工具，船艙則 transportation for islanders to
全記渡上上下下，對紀錄片拍攝的支持。
每次上船落船，全靠船長光哥、權叔，仲有一 是他們重要的生活場所，無 travel between Lamma Island
班水手叔伯，睇住我哋，才可以平平安安完 數的交流就在每天的航程中發 and the city. Its cabin is an
成拍攝工作。喺度再一次感激大家的信任和
生。紀錄片導演馬智恆以觀 important social space where
關照，祝南丫島一路順風順水！」
countless exchanges are made
察式紀錄渡輪上街坊乘客的
11 “Over the past few months, I have talked to
numerous people living here and heard from
them a great many interesting stories about life
日常，窺探南丫南豐富多元的
社區面貌及獨有人情味。半小
daily on the commute. Adopting
an observational approach,
documentary director Ma Chi-
on Lamma. I would like to express my gratitude 時的航程，風景會出現幾度 hang records the everyday
to everyone of Chuen Kee Ferry for their support
for my filming. I wish Lamma Island and its 變化，由人口密集的海港，貨 interactions among local
people all the best!” 輪來回的航道，到小島鄉村風 commuters inside the ferry,
情。流動的場景，是背景也是 offering insights into the rich
風景。短短的航程，成了調適 and diverse social landscape of
生活節奏的時 空 。 Lamma and the quintessential

全記渡
affability of its residents. During
the half-hour commute, the

P.167
scenery keeps on changing: from

Chuen Kee Ferry a busy and densely populated

harbour to a channel where
cargo ships ply, and finally to
the rural ambience of a small
island. The flowing scenes set
both the content as well as
the vista. The short interval of
commuting is where the pace
of life becomes more relaxed.

About the Artworks

作品簡介
南丫說 : 卓翔 「過去對南丫島的印象只局限於南丫北段，這 香港有逾百座天后廟，單是南 With over a hundred Tin Hau

Lamma Mia
段時間讓我更全面去建立專屬於南丫南段的
Cheuk Cheung 丫島這小島上，也座落了三 temples in Hong Kong, there
記憶，同時這次創作讓我看到島上天后廟與
市區天后廟之間微妙的異同。」 座，分別位於索罟灣、鹿洲及 are three on Lamma Island
榕樹灣。為甚麼民眾會供奉天 alone, located respectively
“Before, my impressions of Lamma Island were
后？民眾與天后廟的關係又如 in Sok Kwu Wan, Luk Chau
limited to its northern part. During this project, I
and Yung Shue Wan. Why do
何隨著時代改變？昔日香港以
12
have managed to establish more comprehensively
the memories that belong exclusively to South people worship Tin Hau? How
漁村起家，依賴拜天祭地以求
Lamma, and to note the subtle differences and has their relationship with Tin
similarities between Tin Hau temples on the 神靈保佑。電影導演卓翔曾於
Hau temples evolved over the
island and those in urban areas.” 其作品《戲棚》（ 2019）紀 錄 不 同 years? Hong Kong started and
社區娛神娛人的酬神活動，他 flourished as a fishing port in the
抱持著對天后廟的好奇，在是 past, and its people have long
次計劃繼續以觀察式鏡頭去紀 been committed to worshipping
錄島上及市區天后廟的現況， ancient deities for their
透過凝視水上人、島民及市區 blessings. Film director Cheuk

風調雨順
民眾日常於廟內之行為，嘗試 Cheung in his documentary
在當中尋找一 個 脈 絡 。 Bamboo Theatre (2019)

P.169
detailed the god-worshipping

I Wish activities and festivals in various

communities. In the same
vein, this time he continues
to observe and document the
states of Tin Hau temples on
the island and beyond, as an
attempt to contextualise the
everyday practice of the fishing
community, islanders and city
dwellers visiting the temples.

About the Artworks

作品簡介
南丫說 : 林玉蓮 「南丫島儼如一個大的有機生命體，尤其是 藝術家林玉蓮嘗試從地圖尋找 Artist Pauline Lam tried to find

Lamma Mia
在心臟位置的泥灘，看著每天的潮汐漲退，
Pauline Lam 南丫島的中心地段。在一次午 the centre of Lamma Island on
就像感受到這小島正在不止息地緩慢的呼
和吸。」 後漫步途中，來到河口處的一 the map. During an afternoon
道小橋，舉目一望，看見橋下 stroll, she chanced upon a small
“Lamma Island is like a big living organism,
的風光旖旎，隨光線變化下生 bridge at the estuary, and lo and
with its mudflat aptly located in the ‘heart’ of its
behold, a gorgeous sight spread
出愜意盎然的萬千景態。古往今
13
topography. Watching the tide rising and falling
day after day is like feeling the unending slow before her under the bridge,
來，眾多文人墨客駐足橋上觸
breathing of the island.” where myriad fabulous images
景生情，用以連接道路的橋此
appeared along with the changes
際同樣聯通了景物與藝術家的 of light. Bridges have long been a
心境。林氏為這不期而遇的印
22.201932, 114.130070
source of creative inspiration for
象及意境，於小橋的欄杆上創 writers and painters throughout

橋望‧但見
作了鏤刻造型裝置。陽光穿過 history, and this bridge has in
裝置，為小橋帶來變化不定的 the same way struck a chord
影子地畫，與經過的觀眾因緣 with the artist. Inspired by
22.201932, 114.130070 巧遇。 this fortuitous encounter, Lam
created an engraved installation
Views from the Bridge –

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on the railings of the bridge.
When the sun shines through the
Lo and Behold installation, it creates shifting
pictorial shadows on the ground
to greet visitors passing by.

About the Artworks

作品簡介
南丫說 : 蕭偉恒 「遊山玩水食海鮮一直都係嚟南丫做作品之前 南丫島在二戰時期曾經是日軍 During World War II, Lamma

Lamma Mia
嘅印象。嚟多幾次先知呢個島仔嘅山水可以
Siu Wai-hang 的軍事據點，據說日軍欲將多 Island was a stronghold of the
將香港呢個咁缺乏歷史感嘅地方拉返去同世
界接軌。」 艘快艇匿藏於索罟灣一帶的岩 Japanese army. The Japanese
洞內，伺機向盟軍發動自殺式攻 reportedly intended to hide
“My impressions of Lamma Island before this
擊。藝術家蕭偉恒以島上的戰爭 speedboats in some of the caves
project were all about sightseeing and seafood
in the vicinity of Sok Kwu Wan,
痕跡作為創作脈絡，將「神風
14
treats, but after a few more visits, I got to see how
the landscape of this small island can re-align for the purpose of deploying
洞」轉化成天然暗箱，再把遠
Hong Kong, so lacking in historical perspectives, them in suicide missions against
with the rest of the world.” 處的景觀投射於洞內，讓蘊含
the Allied forces. Inspired by the
歷史的石洞結構與當下洞外的 traces of the war on the island,
海角風景同時並置於鏡頭內。這 artist Siu Wai-hang transforms
些重疊的影像以暗箱的方式被 the kamikaze grotto of World
重新呈現，暗箱入夜後會變成 War II into a natural camera
燈箱，觀賞的位置亦隨之前後互 obscura to project views of
換，帶來兩種不 同 的 觀 賞 經 驗 。 the distant landscape into the

洞外有光
cave, juxtaposing the internal
structure of the historical cave

P.173
with the scenery on the outside

The Ray of Sight at present. These overlapping

images are shown in a camera
obscura installed outside of
the cave which changes into
a light box at night, offering
contrasting visual experiences
at different times of the day.

About the Artworks

作品簡介
南丫說 : 張震揚 「由於作品需要在晚間進行製作，我在南丫 攝影藝術家張震揚向來善於在 Photographer Martin Cheung

Lamma Mia
南的時間大多數都是五點後。每次到埗後，
Martin Cheung 傳統針孔攝影裡發掘攝影的創 is known for the originality in
我都在碼頭吃個簡餐，才開始步行前往海灘，
等待黑夜。 新性，由以燒鴨轉化為針孔相 his pinhole photography. From
機至在元朗八鄉農地挖洞拍攝 converting a roast duck into
拍攝這次的作品，讓我看到許多美麗的夕陽，
日出日落，其攝影作品充滿著 a pinhole camera to digging a
也發現了雖然黑夜都大同小異，但每個日落
cave on farmland in Pat Heung,
概念性和實驗色彩。身處被海
15
均不盡相同。」
Yuen Long to capture sunrise
洋懷抱著的島嶼，海浪不斷拍
“My South Lamma routine usually starts after 5pm and sunset, his photographic
since my artwork requires to be completed at 打著岸，張氏以這些無法捉緊
works are highly conceptual
night. Upon arrival is first a simple dinner by the 的海浪為靈感，嘗試將晚上的 and experimental. Inspired by
pier, followed by a stroll to the beach, waiting for
the night to fall. 海灘轉化為天然黑房，在海浪 the incessant waves lapping the
中放置黑白相紙，用閃光燈捕 shores of the island, Cheung
I got to see countless gorgeous sunsets because
捉南丫南海灘的浪濤痕跡，盼 attempts to transform the beach
of this project. I also learnt that no sunset is ever the
same even though all nights are very much alike.” 能留著大自然的一瞬，為觀眾 at night into a natural darkroom
視像化一連串 海 與 陸 的 對 話 。 by placing black and white photo

採集海浪
paper in the sea, and capturing
with flashlights the traces of

P.175
waves in South Lamma. He hopes

Waves Collection to encapsulate the transience of

nature and translate into visible
images a series of dialogues
between the land and sea.

About the Artworks

作品簡介
南丫說 : 簡歷 畢業於香港演藝學院，曾執導三部有關戲曲的紀錄片，2013年

Lamma Mia
Biographies 憑 《 乾 旦 路 》 獲 香 港 藝 術 發 展 獎 藝 術 新 秀 獎 ， 2 0 19 年 以 《 戲 棚 》
獲提名金馬獎最佳紀錄片及香港電影金像獎新晉導演；卓氏同時
活躍於策劃跨文化藝術創作及交流，2018年聯合導演劇場作品
《肖像曲》，與崑劇、能劇及歌劇藝術家共同合作。

Graduated from the Hong Kong Academy for Performing Arts, Cheuk
卓翔 directed three documentaries about Chinese Opera. In 2013, he received
Cheuk Cheung the Award for Young Artist in Hong Kong Arts Development Awards for
My Way. In 2019, he was nominated for Best Documentary at the Golden
Horse Awards and Best New Director at the Hong Kong Film Awards for
參與藝術家 Bamboo Theatre. He also initiated various theatre productions and cross-
Participating Artists cultural exchange programs. In 2018, he co-directed a theatre piece Songs
of Portrait, involving artists from Kunqu, Noh and opera.

於香港浸會大學視覺藝術院取得學士及碩士學位。陳氏自稱「藝術
勞動者」，專門搜羅物件和人物的故事，以不同敘述方式整理人與 20 01年澳 洲維多 利亞藝 術學院 榮譽學 士畢業 ，主修 純藝術 攝影。
物的多重關係，把作品作為與人交流的平台，分享人的日常生活、 張氏多年來以鑽研和推廣針孔攝影技術為主，最為人津津樂道的
人對物的割捨與依戀，從人間百態反觀物件的文化歷史。 作品是將燒鴨轉化為針孔相機，於墨爾本唐人街所拍下的概念性
作品《Duck Cam — Melbourne》
（2001），該作並成為美國Pinhole
Chan received his Bachelor and Master of Visual Arts degrees from Resource收藏品之一。
the Academy of Visual Arts at the Hong Kong Baptist University. He

陳百堅 considers himself an ‘art labourer’ who collects stories about objects and
Brandon Chan people, and creates narratives about their complex relationships. His work
serves as an exchange platform for people to share their daily lives, and
their abandonment of and attachment to objects, probing into the cultural
history of objects through the stories of all walks of life.
畢業於澳洲皇家墨爾本理工大學文學士(純藝術)，作品多以日常
生活體驗與想像為題，表達自身、城市及自然三者之間的關係。近
年喜愛以古老的藍曬顯影創作，享受過程中作品隨著陽光和時間變
化。這種結合天氣與自然，充滿未知變數的創作方式，象徵著生命
會順應環境而改變。
Chan received her Bachelor of Arts (Fine Art) degree from the Royal
陳佩玲 Melbourne Institute of Technology University. Her works usually
Peggy Chan originate from her everyday experience and imagination, attempting
to explore the triangular relationship between the individual, the city
and nature. Cyanotype, a traditional photographic printing process, has
been Chan’s favourite medium in her recent works. Highly relied on
sunlight and time in the creation process, her cyanotype works evoke the
uncertainty of nature, signifying how our lives flow along with the ever-
changing environment.
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Cheung graduated with a Bachelor of Fine Arts (Hons) at the Victorian
張震揚 College of the Arts in Melbourne Australia in 2001. He has been focusing
Martin Cheung on the research and promotion of pinhole photography for years. His best
known work is Duck Cam – Melbourne (2001), a conceptual photographic
work which he converted a roasted duck into a pinhole camera to
photograph Melbourne’s Chinatown. The work is collected by Pinhole
Resource in the United States.
19 9 5 年 畢 業 於 香 港 中 文 大 學 藝 術 系 ， 主 修 雕 塑 。 創 作 概 念 多 源 於
生活日常和氣候變化議題。何氏喜歡大自然，享受戶外創作和耕
作，近年積極參與本地及海外有關環境及氣候變化的藝術計劃，
如「落塘源野藝術節2019」、「廢柴！不廢」以及「2019釜山雙
年展—海洋藝術節」等等。
Ho graduated from the Fine Arts Department of the Chinese University
何遠良 of Hong Kong in 1995, majoring in sculpture. His creative concepts are
Ho Yuen-leung mostly derived from daily life and climate change. He loves nature and
enjoys outdoor creative activities and farming. In recent years, he has
actively participated in local and overseas art projects related to natural
environment and climate change such as “Fishpond Diving Sustainable
Art Festival 2019”, “Junk! Woodworking” and “Busan Biennale - Sea Art
Festival 2019”.

Biographies
簡歷
南丫說 : 2012年於香港大學取得建築設計碩士，其後在2014年放棄建築事 畢業於香港中文大學藝術系，其後獲澳洲皇家墨爾本理工大學藝

Lamma Mia
業，投身為全職插畫家，開始在坊間收集一些平凡的故事，並以 術碩士。林氏的作品以「場域特定」和「概念化」的裝置為主，
自己的畫作交換。他的創作著重宣揚平凡中的價值，希望每人都 展出場地包括域多利監獄、港外線碼頭及渡輪等。近年作品主
能 珍 惜 當 下 。 他 曾 出 版 繪 本 《 如 果 我 們 只 有 相 遇 不 會 重 逢 …… 》 要探討文化發展與人活動之間的關係。林氏曾獲頒不同的藝術
（2015）及《偶爾和自己說些話》 （2019）。 獎 項 ， 包 括 2 0 1 0 年 香 港 藝 術 發 展 獎 的 「 年 度 最 佳 藝 術 家 獎（ 視 覺
藝術）」。
Humchuk graduated with a master’s degree in Architecture (Design) Lam received her Bachelor’s degree of Fine Arts from the Chinese
含蓄 from the University of Hong Kong in 2012. In 2014, he gave up his career 林玉蓮 University of Hong Kong and her Master of Fine Art degree from the
Humchuk in architecture to become a full time illustrator. Since then, he has been Pauline Lam Royal Melbourne Institute of Technology University. She specialises
collecting ordinary stories from the street by giving away his paintings in in site-specific and conceptual installation works at various locations,
exchange, in hopes of reminding people to cherish every moment in life. including a former prison, a pier and ferry boats. In recent years, her
His publications include picture books If only we – had met – but won’t works focus on the relationship between cultural development and
meet again … (2015) and Talk to Yourself from Time to Time (2019). human activities. Lam was the recipient of numerous arts awards,
including Award for Artist of the Year (Visual Arts) at the Hong Kong
Arts Development Awards 2010 (HKADC).
自中學時期起一直鍾情於廣彩瓷藝，在學習工藝的同時亦嘗試突破
傳統，為廣彩注入香港文化符號。2019年修畢香港理工大學環境
及室內設計學士課程，現為道風山基督教叢林的常駐藝術家。林斷 獨立電影導演，畢業於香港中文大學藝術系(文學士)及哲學系
山明過往曾參與多個聯展，包括「港彩流金：二十世紀香港彩瓷」 (文學碩士)。除電影創作外，亦從事寫作、文化策劃、藝術教
展覽（2018）等。 育 工 作 。 其 廣 受 好 評 的 紀 錄 片 《 岸 上 漁 歌 》( 2 0 1 7 ) 以 詩 意 的 鏡
Lam Duen Shan Ming has developed a passion for guangcai since 頭記錄幾近失傳的香港漁民文化，作品獲得第十六屆RAI電影節
「民族音樂學電影獎」及「非物質文化電影獎」兩項殊榮。

high school and began his apprenticeship with a porcelain master. He
林斷山明 is in pursuit of injecting traditional craft with a contemporary twist,
Lam Duen introducing various cultural symbols of Hong Kong into the art of
Shan Ming Canton porcelain. Lam Duen Shan Ming graduated from the Hong Kong
Polytechnic University with a Bachelor of Arts in Environment and
Interior Design in 2019. He is currently an artist-in-residence at Tao Fung
Shan Christian Centre. Over the years, he has taken part in a number of
joint exhibitions, including the “Golden Splendours: 20th-Century Painted
Porcelains of Hong Kong” (2018) among others.
P.179
An independent film director, Ma received his Bachelor of Art in Fine
Arts and Master of Arts in Philosophy from the Chinese University of
馬智恆 Hong Kong. Apart from film production, he is also engaged in writing,
Ma Chi-hang cultural management and art education. His documentary film, Ballad on
the Shore (2017), widely reputed for its poetic portrayal of Hong Kong’s
disappearing fishermen culture, received the Ethnomusicological Film
Award (commendation) and Intangible Culture Film Prize at the 16th RAI
Film Festival.

二人畢業於香港城市大學創意媒體學院，曾共同創作得獎繪本 2018年畢業於香港浸會大學視覺藝術文學士課程，曾赴日本名古
《電車小叮在哪裡？》。林建才主要創作媒介為繪本與版畫，題材緊 屋造形大學交流。沈氏專注於水墨創作，作品嘗試拉近傳統實踐
扣日常生活的親密時刻以及當中的奇幻發現；劉清華則以動畫和錄 與日常經驗之間的距離，並探索風景以及山水符號在現今社會中
像創作為主，作品以身體及城市記憶為主軸，將生活裡面的碎片和 的不同意義。她在修業期間數度獲得獎項，包括「馮永基教授中
片段重組成為影像。 國繪畫創作獎」及「視覺藝術創作獎」等。

The artist duo are both graduates from the School of Creative Media at the
City University of Hong Kong. They jointly published the award-winning
picture book, Little Big Tram. While Lam is an illustrator and printmaker
who focuses on the whimsical and the intimate moments in everyday life,
Lau’s creation revolves around animation and video, turning fragments of
everyday life into moving images with a focus on the body and collective
林建才及 memories of the city.
Shum graduated from the Hong Kong Baptist University with a Bachelor
沈君怡 of Arts in Visual Arts in 2018, and studied as an exchange student at
Shum Kwan-yi Nagoya Zokei University of Art & Design, Japan. Specialising in ink art,
Shum intends to narrow the distance between traditional practices and
daily experiences, and seeks the meanings of landscape and symbols of
shanshui in contemporary society. Shum has received several awards,
including Professor Raymond Fung Award for Chinese Painting and

Biographies
劉清華 Academy of Visual Arts (AVA) Award.
Kinchoi Lam &
Jess Lau
簡歷
南丫說 : 生於香港，是印度及菲律賓裔藝術家，2017年畢業於香港薩凡納 從事雕塑創作，張氏創作偏好應用非傳統物料，並從城市的經濟

Lamma Mia
藝術設計學院。Sikdar經常以重複而精巧的手法收集、組裝、解構 和社會變化中尋找創作靈感及題材。張氏深信作品該與觀眾產生
及重組現成物，並運用天然物料如樹枝、樹皮及樹葉等創作作品。 互 動 多 於 裝 飾 性 ， 其 作 品 曾 於 不 同 的 展 覽 中 展 出 ， 包 括「 香 港 雕
她目前正在探索運用自己的髮絲作為創作媒介，藉以發掘身體與自 塑雙年展2010」、「Spain LOOP Video Festival 2009-10 This is Hong
然、個人成長與轉瞬的關係。 Kong」及「2003高雄國際貨櫃藝術節」等。

Sikdar is a Hong Kong born Indian Filipino artist. She graduated with a
Sharu B. Sikdar Bachelor of Fine Arts in 2017 at the Savannah College of Art and Design,
Hong Kong. Sikdar’s artistic practice is repetitive and labour-intensive
as she collects, assembles, deconstructs and reconstructs found objects.
She utilises natural materials such as branches, barks and leaves. She
is currently exploring her hair as a medium, tapping into the relations
between the body and nature, personal growth and the ephemeral.
Zhang is a sculptor characterised by the use of unconventional materials.
張哲 He seeks to explore urban economy and social changes, believing that
Zhang Zhe art should be interactive and engaging rather than decorative. His works
were featured in international exhibitions such as “ECHO-Hong Kong
Sculpture Biennial 2010”, “Spain LOOP Video Festival 2009-10 This is
Hong Kong” and “Kaohsiung International Container Arts Festival 2003”.

2010年畢業於香港城市大學創意媒體學院，其後於2013年於香港 項目設計 擅長於活動視覺規劃和品牌形象設計，以不同敘事手法帶出設計

中文大學取得藝術碩士學位。蕭氏一直從事攝影及多媒體創作，呈 Project Design 背 後 的 意 義 。 曾 任 職 於 studiowmw， 並 多 次 獲 得 台 灣 金 點 設 計 獎 。
現對社會的關注及對影像媒介的反思。作品為香港立法會及私人藏 其 後 獲 得 「 D FA 香 港 青 年 設 計 才 俊 獎 」 ， 並 以 「 設 計 是 使 故 事 可
家收藏，現致力於藝術教育，在各大專院校及機構教授藝術。 見」為理念，成立設計單位for&st。

Siu graduated from the School of Creative Media at the City University of Cheung specialises in event identity and branding design, aspiring to
Hong Kong with a Bachelor of Arts (Hons) and the Department of Fine make use of different storytelling approaches to deliver messages that

蕭偉恒 Arts at the Chinese University of Hong Kong with a Master of Fine Arts in
Siu Wai-hang 2010 and 2013 respectively. He has primarily engaged in photography and
multimedia art to express his concern for society and his reflection on the
medium. His works are collected by the Legislative Council of Hong Kong
and individual collectors. He currently teaches at various art institutes
and universities in Hong Kong.
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underlie his design. Cheung received the Taiwan’s Golden Pin Design
Awards for multiple times during his period at studiowmw. After
receiving the DFA Young Design Talent Award, he formed his design
張偉明 union — for&st, with the vision “design to make stories visible”.
Ming Cheung

分別於2007年及2012年在美國聖路易斯華盛頓大學取得藝術學士
及香港中文大學取得藝術文學碩士。蘇氏成長於傳統中醫學世家，
自幼觀察各種藥材，善以其熟悉的中醫藥材及日常用品創作大型裝
置和雕塑，透過融合中醫傳統哲學思想和她對天文奇觀的浮想，試
圖詮釋萬物之間的關聯連繫。

So graduated with a Bachelor of Fine Arts from the Sam Fox School of
蘇詠寶 Design and Visual Arts, Washington University in Saint Louis in 2007,
So Wing-po and with a Master of Arts in Fine Arts from the Chinese University of
Hong Kong in 2012. Having grown up in a family with generations of
Chinese medicine practitioners, she has been acquainted with Chinese
herbs since childhood. By incorporating the pharmacological herbs
and daily objects into large-scale installation and sculpture, So weaves
Chinese medical and philosophical thinking into celestial wonders that
reconstruct the correlation of matter and being.

Biographies
簡歷
南丫說 : 工作小組

Lamma Mia
Production Team

項目策劃 藝術推廣辦事處經常與不同藝術工作者結為策略性的合作夥 在地藝術策劃夥伴 於2008年成立，為本地註冊慈善文化藝術團體，透過在香港

Project Management 伴，把跨領域的視覺藝術形式向大眾推介，從而連結社群與 Art In-Situ Curatorial 的戶外或公共空間策劃藝術項目，積極地以藝術的介入連結
藝術，讓藝術融入生活。最近舉辦的公共藝術項目包括「邂 Partner 社區，接觸不同面向的社群，提升公眾對社會及環境的認識和
逅！市中森」及「非凡！屯門河」等。辦事處藉「南丫說：」 關注，致力推廣藝術與文化的教育。其2018年舉辦的藝術教育項
將藝術帶到以索罟灣為中心的南丫南，以「海岸」為主題， 目「源野呼吸」大地藝術營，榮獲香港藝術發展局頒發教育獎
向公眾呈現南丫南獨特的人情風光及歷史往事。辦事處也 （非學校組） 。藝術到家希望提供平台推動創意、藝術教育及海外
開 設 了「 我 地 藝 術 」 面 書 專 頁 及 Instagram網 上 社 交 平 台 與 公 交流，實踐其文化使命。
眾分享、交流藝術的樂趣。除了本地項目，辦事處亦與越後 Founded in 2008, Art Together is a charitable cultural and
妻有大地藝術祭合作，在日本津南町建立一所屬於香港的 art organisation based in Hong Kong. It focuses on art projects in
藝術基地 ──「香港部屋」，並展示香港藝術家的在地藝術創作 outdoor areas and public spaces across Hong Kong, aiming to connect
成果，以藝術探索當地鄉野自然，連結兩地人文文化。 the community through the infusion of art, reach more diverse
藝術推廣辦事處 藝術到家 communities, enhance the social and environmental awareness of
Art Promotion The Art Promotion Office (APO) often works as strategic partners Art Together the public, and promote education on art and culture. The “Breathe
Office with various art practitioners and organisations who are dedicated to
in the Nature” Land Art Camp has earned it the Hong Kong Arts
art promotion. To cope with the needs of the society and the people,
Development Council’s Award for Arts Education 2018 (Non-School
we introduce interdisciplinary visual art forms to the public, so as to
Division). Art Together seeks to provide a platform for promoting
connect art with people and communities and to embrace art in our
creativity, art education and overseas exchange to achieve its
daily life. Our latest public art projects include “Hi! Flora, Fauna”,

P.183
cultural mission.
“Viva! River”, and more. Through “Lamma Mia”, the APO brings art
into South Lamma centred on Sok Kwu Wan on the theme of “island
shore”. It aims to tell the story of the island, its people, scenery and
its past. The APO also set up the “Art-OUR in situ” page on Facebook
and Instagram to share the fun of art with the public and foster artistic
exchanges locally. To showcase home-grown talents abroad, the APO
collaborates with the Echigo-Tsumari Art Triennale to build an art hub
of Hong Kong at Tsunan Town of Japan, featuring the site-specific
works created by Hong Kong artists and connecting the people and
cultures of both places.

Biographies
簡歷
南丫說 : 研究團隊 藝評人，香港中文大學文化研究博士。關注藝術生態及文化政治。 現職社福機構，為前雜誌攝影師。郭氏居住南丫島十二年，

Lamma Mia
Research team 著 作 包 括 《 活 在 平 常 》 及 《 我 愛 A r t B ase l ： 論 盡 藝 術 與 資 本 》 。 是客家歷史及香港本地歷史愛好者，早前參與南丫島模達灣
居住南丫島二十年，近年對島嶼研究產生興趣，是南丫島模達灣歷 歷史及社會研究計劃，協助進行口述歷史紀錄。
史及社會研究計劃的主研究員，其出版物《模達今昔》亦將於2021
年年底出版。 Previously a magazine photographer and currently working at an
NGO, Kwok is a 12-year resident of Lamma Island. As a Hakka
An art critic, Leung received her doctoral degree in Cultural Studies from and Hong Kong history enthusiast, he assisted the record of oral
the Chinese University of Hong Kong. With a particular interest in art 郭偉全 histories in the Historical and Social Research of Mo Tat Wan,
ecology and cultural politics, she has written several books including Eric Kwok Lamma Island Project.
Living in Peace/amid Social Changes and I love Art Basel. Having lived in
梁寶山 Lamma Island for 20 years, she has developed interest in island studies in
Leung Po-shan recent years. She is the main researcher of Historical and Social Research 導賞活動策劃夥伴 香港民間古蹟保育基金為本港非牟利機構，倡導及積極推廣
Anthony of Mo Tat Wan, Lamma Island Project. The publication of the research Mo Public Tour
Collaborator
保護和活化香港的古蹟建築，並籌劃一系列活動，例如「活
Tat Then and Now will be published by the end of 2021. 現皇都」保育運動、深水埗主教山配水庫保育運動、研討會
和導賞團如「香港唐樓發展里程」長沙灣．深水埗導賞團和
香港民間 油尖旺區議會少數族裔文化遊等，以提高公眾對文物保育的
古蹟保育基金 意識。
香港大學社會學博士，以口述歷史探知香港的地方歷史和生活 Hong Kong
文化，是她的研究興趣之一，曾參與油麻地、土瓜灣、衙前圍 Community The Hong Kong Community Heritage Foundation is a not-for-profit
村、香港仔水面社區及南丫島南段的社區口述歷史。相關著作見 Heritage organisation that advocates for more proactive preservation and
《記憶景觀:香港仔漁民口述歷史》及《香港記憶》網站。 Foundation sustainable adaptive reuse of heritage architecture in Hong Kong. It
has organised a series of events such as “State Theatre Conservation

Wong Wai-ling was awarded PhD in Sociology by the University of
Hong Kong. Her research interests include oral history studies of local
王惠玲 communities. She has committed to several community oral history
Wong Wai-ling projects, such as Yau Ma Tei, To Kwa Wan, Nga Tsin Wai Village, the water
community in Aberdeen and South Lamma. Her related works include:
Memory scape: Oral Histories of Fishermen in Aberdeen, and can also be
found on Hong Kong Memory website.
P.185
Advocacy Campaign” and “Saving Bishop Hill Service Reservoir
Campaign” as well as seminars and walking tours like “Tong Lau
Tour” in Cheung Sha Wan and Sham Shui Po, and the Ethnic
Minorities Tour in Yau Tsim Mong to raise the public’s awareness of
the conservation of heritage.

錄影記錄 私．製作室成立於2009年，是專業的舞台錄像製作公司。多年
香港中文大學人類學碩士，現為獨立研究員和圖文作家。 Video Documentation 來為不同藝團攝製各類型影片，紀錄演出、展覽和其他藝術
曾於台灣與原住民合作種田，回港後關注城鄉發展和自然教 活動，每年攝製的舞台演出超過50個。合作的藝團包括香港
育，並以藝術創作回應社會議題。曾與香港大學、灣仔區議 舞蹈團和香港中樂團等。疫情期間，私．製作室協助各個藝團
會等機構合作，研究項目包括荔枝窩鄉郊永續發展評估。 製作讀劇、舞台劇和音樂會的現場網上直播，希望讓藝術活
另出版兒童繪本包括《牛角包生氣了？》(2021)。 動突破現實環境的限制，在這個非常時期繼續滋養香港人的
心靈。
Currently an independent researcher, writer and illustrator, Chan received
Established in 2009, C. Production is a professional company
陳芷琳 her master’s degree in Anthropology from the Chinese University of
specialisd in video production for theatre. Over the years, it has
Teresa Chan Hong Kong. She began following closely on urban-rural development
created a range of videos for various art groups, documenting their
and environmental education after farming with indigenous people in 私．製作室 performances, exhibitions and other art activities, at the rate of more
Taiwan. She also responds to social issues through artistic creation. She C. Production than 50 productions a year. Previous clients include the Hong Kong
collaborated with the University of Hong Kong, Wan Chai District Council
and other organisations on different research projects including “Lai Dance Company and Hong Kong Chinese Orchestra. Since the
Chi Wo Rural Sustainability Assessment”. Her published works include outbreak of the pandemic, the company has assisted art groups in
live streaming of readers theatre, stage plays and music concerts in

Biographies
children's picture book Angry Croissant (2021).
the hope of overcoming the physical constraints and nourishing the
cultural needs of Hong Kong people in these unusual times.
簡歷
南丫說 : 鳴謝 我們感謝以下人士及機構對「南丫說：」 工作小組

Lamma Mia
Acknowledgements 的熱心支持和慷慨協助（排名不分先後） ： Production Team
We would like to thank the following
people and parties for their enthusiastic 項目策劃 Project Management
help and generous support for “Lamma 藝術推廣辦事處 Art Promotion Office
Mia” Public Art Project (in no particular 劉鳳霞博士 Dr Lesley Lau
order) : 胡佩珊 Apo Wu
羅欣欣 Lo Yan-yan
區碧鴻 Twiggy Au
伍啟俊 Terry Ng
劉偉妍 Cecilia Lau
周嘉文 Vivian Chau
張彥農 Ingrid Cheung

在地藝術策劃夥伴
Art In-Situ Curatorial Partner
陳來好女士 Ms Connie Chan 姚文輝先生 Mr Yiu Man-fai 全記渡及伙記們
陳浩然先生 Mr Chan Ho-yin Winnie及黎先生 Winnie and Mr Lai Chuen Kee Ferry and its crew members 藝術到家 Art Together
陳子健先生 Mr Jackie Chan 亞達 Atat Wong 鄭怡敏 Gum Cheng
南丫島合心龍
陳金發先生 Mr Chan Kam-fat 娣姐 Auntie Tai 陳佩玲 Peggy Chan
Hop Shum Dragon Lamma
陳霖先生及太太 Mr and Mrs Chan Lam 威嬸 Auntie Wai 蔡頴儀 Renka Choi
南丫島鹿洲同慶龍 鍾靖琦 Stephanie Chung
陳嘉麗女士 Ms Ophelia Chan Ben 哥 Brother Ben
Lamma Island Luk Chau Tung Hing Lung 葉婷婷 Kitty Ip
陳東榮先生 Mr Chan Tung-wing 文哥 Brother Man

P.187
南丫島南段鄉事委員會 林芷欣 Janice Lam
周振遠先生 Mr CY Chau 金蓮婆婆 Grandma Kam Lin
Lamma Island (South) Rural Committee 李銘義 Teeda Lee
周國明先生 Mr Chau Kwok-ming 森美 Sammy Chan
周樹齊先生 Mr Chau Shu-tsai 子揚 Tsz Yeung 南丫島體育會 研究團隊 Research team
鄭火帶先生 Mr Cheng For-tai Tony 小朋友 Tony Lamma Island Sports Association 梁寶山博士 Dr Anthony Leung
鄭帶勝先生 Mr Cheng Tai-shing 陳置衡小朋友 Chan Chi-hang
索罟灣天后宮 王惠玲博士 Dr Wong Wai-ling
張志強先生 Mr Cheung Chi-keung 陳晞妍小朋友 Chan Hei-yin 陳芷琳 Teresa Chan
Sok Kwu Wan Tin Hau Temple
張西門先生 Mr Simon Cheung 鄭杏潼小朋友 Elsa Cheng 郭偉全 Eric Kwok
趙汝桃先生 Mr Chiu Yu-to 張哲小朋友 Akira Cheung 泰園酒家
謝采善 Priscilla Tse
周玉堂先生, SBS, MH Mr Chow Yuk-tong, SBS, MH 張悅小朋友 Haruka Cheung Tai Yuen Restaurant 陳述恩 Angela Chan
方太 Mrs Fong 張晴小朋友 Namiko Cheung 香港大學圖書館
何祖沛先生 Mr Ho Cho-pui 晴晴小朋友 Lydia The University of Hong Kong Libraries 導賞活動策劃夥伴
許先生 Mr Hui 子涵小朋友 Tsz Ham Public Tour Collaborator
威記海鮮酒家
郭詠濠先生 Mr Kwok Wing-ho 子雲小朋友 Tsz Wen
Wai Kee Seafood Restaurant 香港民間古蹟保育基金
賴小姐 Ms Lai Mr Martin Bode
Hong Kong Community Heritage Foundation
林漢基先生 Mr Lam Hon-kei Ms Julie Chan
劉啟雄先生 Mr Lau Kai-hung Dylan and Jasmin
項目設計 Project Design
梁錦全先生 Mr Leung Kam-chun Mr Dave Hopley 張偉明 Ming Cheung (for&st)
郭小明先生 Mr Michael Kwok Mr Andrew Wilcockson
彭先生 Mr Pang The Buoy (Marty Miller and Jen Yoohyun Lee) 錄像記錄 Video Documentation
鮑錦英女士 Ms Pau Kam-ying 私．製作室 C. Production
談錦添先生及太太 Mr and Mrs Tam Kam-tim 「南丫說：」藝術大使
譚玲女士 Ms Tan Ling “Lamma Mia” Art Ambassadors

Acknowledgements
胡國光先生 Mr Wu Kwok-kwong
胡國統先生 Mr Peter Wu 所有南丫島島民 All Lamma Islanders
胡偉光先生 Mr Woody Wu
王太 Mrs Wong
黃展明先生 Mr Wong Chin-ming
鳴謝
南丫說 : 參考書目 出版資料 展覽詳情

Lamma Mia
Reference Publication Information Exhibition Details

王惠玲、羅家輝。《記憶景觀 ── 港仔漁民口述歷史》。香港︰三聯書店（香港），2015。 此小冊子配合「南丫說：」公共藝術項目出版 南丫說：

This booklet is published on the occasion of
the “Lamma Mia” Public Art Project
Lamma Mia
張少強、古學斌︰〈跳出原居民人類學的陷阱：次原居民人類學的立場、提綱與實踐〉，《社會學
研究》，第二期（2006）
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康樂及文化事務署出版
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關天林主編。《字花第81期︰島》。香港︰水煮魚文化，2019。
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