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Table | Comparison of three Lam Tsuen Jiao Bulletins Format: Total no. of pages Colour the festival black & white [b/w] b/w colour Content (columns relating to) the community the opera [1 greetings from: commercial organizations the community other communities Į individuals Government officials Advertisements Committee members Photos: other community members guests community opera performers نيا [4 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

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Table | Comparison of three Lam Tsuen Jiao Bulletins 1963 33 1972 1990 Format: Total no. of pages 20 20 64 Colour the festival black & white [b/w] b/w colour Content (columns relating to) 1 3 6 the community the opera 1 5 6 [1 1 9 greetings from: commercial organizations the community other communities 7100 Į 6 2 2 4 4 individuals Government officials Advertisements 21 Committee members Photos: other community members guests community opera performers نيا 3 3 43 3 4 20 [4 9 8 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

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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

Baseline (Original)

Table | Comparison of three Lam Tsuen Jiao Bulletins 1963 33 1972 1990 Format: Total no. of pages 20 20 64 Colour the festival black & white [b/w] b/w colour Content (columns relating to) 1 3 6 the community the opera 1 5 6 [1 1 9 greetings from: commercial organizations the community other communities 7100 Į 6 2 2 4 4 individuals Government officials Advertisements 21 Committee members Photos: other community members guests community opera performers نيا 3 3 43 3 4 20 [4 9 8 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

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Table | Comparison of three Lam Tsuen Jiao Bulletins

1963

33

1972

1990

Format:

Total no. of pages

20

64

Colour

the festival

black & white [b/w] b/w

colour

Content (columns relating to)

1

3

6

the community

the opera

1

5

6

[1

1

9

greetings from:

commercial organizations

the community

other communities

7100

Į

6

2

4

individuals

Government officials

RAS-1990 — Page 56

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