Table | Comparison of three Lam Tsuen Jiao Bulletins
1963 1972 1990 Total no. of pages 20 20 64 Colour black & white [b/w] b/w colour Content (columns relating to) 1 3 6 the community the opera 1 5 6 greetings from: 1 1 9 commercial organizations 7 6 2 the community 2 4 other communities 4 individuals Government officials Advertisements 21 Committee members Photos: other community members 3 3 43 guests 4 3 community opera performers 4 9 20 Sources: Lin Cun [Lam Tsuen] Xiang Taiping Qingjiao Shenghui Tekan (Lam Tsuen, 1963) Renzhi nien Lin Cun Xiang Taiping Qingjiao (Lam Tsuen, 1972) Gengwu nien Lin Cun Xiang Shinien Yijie Taiping Qingjiao (Lam Tsuen, 1990)c. Approaches to the study of Hong Kong Jiao Festivals
In general, Saso's "cosmic renewal" is the view most commonly accepted by researchers of Hong Kong Jiao festivals. Instead of looking at the rituals, there is a strong tendency to study the social and organizational aspects of the festival.
Tanaka recorded more than 14 different Jiao festivals in his three comprehensive volumes on Chinese ritual theatre.* Starting from the quest to uncover the origin and the route of diffusion of Chinese ritual theatre, Tanaka gradually moved his focus to social and structural complexities of the Jiao festival. This shift in focus is likely to have resulted from his expanding his scope from immigrant