FEATURE

TEXT_ Musi

PHOTOS_ Erik U、Balaam Nagata、Teddy Choi

ILLUSTRATOR _ Moto & Tak Tak

Whenever Macao is mentioned, the phrase “a blend of Chinese and Western cultures” comes to mind. This year marks the 20th anniversary of successful application for the “Historic Centre of Macao” as a UNESCO World Heritage Site, as well as Macao being designated as the “Culture City of East Asia” for 2025. This issue of Books And The City will focus on the cultural charm of this lotus land, including an introduction to Cantonese opera and local dialect drama, Patuá Theatre, listed on the Inventory of Intangible Cultural Heritage, allowing readers to experience the unique customs and traditions arising from Macao’s multicultural fusion. Additionally, we will delve into the stories behind the city’s architecture and understand the important role this small city plays in the transmission of civilization.

To vividly preserve Macao’s memories, this special feature will use books as a bridge. Through the books Intangible Cultural Heritage of Macao and Where the World Heritage Shines – Photographs of the Historic Centre of Macao, combined with expert interviews, cultural heritage information, and recommendations for arts and cultural activities, we will help you decode the unique genetic makeup of Macao’s culture and jointly explore the most captivating spiritual core of this city.

Do you know how many items of intangible cultural heritage exist Macao has? The book Intangible Cultural Heritage of Macao vividly introduces 70 heritage items, covering categories such as performing arts, social and religious practices, rituals and festive events, as well as traditional craftsmanship. Leong In Fan, a member of the book’s creative team and a staff of the Department of Cultural Heritage of the Cultural Affairs Bureau of the Macao SAR Government, states, “Intangible cultural heritage is a part of life.” To popularize knowledge of intangible cultural heritage and bridge the gap between it and the youth, the book features vibrant illustrations paired with easy-to-understand bilingual text in Chinese and Portuguese, allowing readers to easily grasp Macao’s traditional customs and culture. This, in turn, enhances their pride and sense of belonging to the local culture.

Turning the pages, the dedication of the creative team is evident everywhere. To visualize the intangible content of heritage, each illustration incorporates multiple elements. For instance, in the section on the “Belief and Customs of Chu Tai Sin,” there are not only priest chanting but also fishermen performing rituals and offerings to spirits (feeding the ghosts) for peace. The details are particularly delightful; in the segment on “Naamyam Narrative Songs”, a traditional teahouse serves as the backdrop, with elements like birdcages, green window frames, and dim sum carts vividly recreating traditional life scenes, evoking emotional resonance in readers. Characters from three generations engage in the practice of intangible curtail heritage, conveying the idea that everyone can participate and contribute to shared legacy.

Additionally, the text within the book is worth savouring. Each introduction to the individual intangible heritage items, spanning over a hundred words, covers the origins, forms of expression, groups involved in transmission, and the purpose of inheritance. For example, while the Cheng Ming Festival (Day of the Departed) is often associated with feelings of sorrow during ancestor worship, the team shifts perspective, beautifully describing it as one of the 24 solar terms: “Cheng Ming refers to the clear and bright weather, free from haze, mist, frost, and snow, marking the end of cold winter and the arrival of summer.” This not only dispels the heavy atmosphere but also reveals the deeper meanings behinds intangible cultural heritage.

In addition to the book’s publication, the Functional Head of the Macao Museum of the Cultural Affairs Bureau, Tou Chi Hou, also shared various intangible cultural heritage promotion activities in Macao. The Macao Museum periodically holds thematic exhibitions on intangible cultural heritage, such as the 2023 exhibition Blessed Land – Belief and Customs of Tou Tei in Macao, which allows visitors to learn about Macao’s land culture through exhibition format. “The Experiencing Intangible Cultural Heritage at Zero Distance” project was launched in response to the 2020 addition of 55 items to the “Inventory of Intangible Cultural Heritage”, there are workshops organized around different themes each month. In 2023, “Manufacture and Painting of Portuguese Azulejo Tiles workshop” offered 40 spots but attracted over 600 applicants, indicating the popularity of intangible cultural heritage promotion activities among the public. This year, Macao will also serve as the third stop of the “Cultured Bay Area, Brilliant ICH – 2025 Guangdong-Hong Kong-Macao Greater Bay Area Intangible Cultural Heritage Show” showcase the cultural roots shared among the Greater Bay Area and the cultural charm of Guangdong, Hong Kong and Macao.

Performing arts are an important category of intangible cultural heritage. In additional to the spectacular Dragon Dance and Lion Dance that shine during various Chinese celebrations, Macao also has many performing arts worth watching!

The Artistic Essence of Guangdong, Hong Kong and Macao: Cantonese Opera “Falling petals fill the atmosphere, obscuring the moonlight…” Originating from the Guangdong region during the Ming and Qing dynasties, Cantonese Opera combines elements of literature, drama, visual arts and martial arts, making it a beloved form of performing arts in the Greater Bay Area. In the past, Macao’s first Chinese theatre, the Cheng Peng Theatre, frequently showcased Cantonese opera. To this day, Cantonese opera performances, especially the divine plays, are still featured during the god birthday celebrations at various temples. Fun Fact: Cantonese opera commonly uses percussion instruments such as large gongs (Daluo), cymbals (Dabo), and big drums (Dagu), which is why it is referred to as “big opera” (Dà  Xì).

The Fusion of Multiculturalism: Patuá Theatre

Patuá is a unique linguistic system created by the Macanese, based on Portuguese and incorporating elements from Malay, Cantonese, English and Spanish. This form of drama, unique to Macao, focuses on social issues and expresses ideas in a comedic format. As early as the first half of the 20th century, there were efforts to document related performances in writing. Today, Patuá Theatre has become a “regular feature” at the Macao Arts Festival.

Unlocking Macao’s Artistic Events:

The 2^nd Macao International Children’s Arts Festival (July to August 2025)
This year’s festival features South Korea’s multimedia theatre production Poli Pop, which takes audiences into a fantastical world of light and shadow. The mainland China’s family theatre An Astronaut’s Day presents space knowledge in an engaging and lively way. Macao’s teams will showcase artistic  performances Musical Magic Wand IV – Percussion vs. the Bull Demon King, and Whispering Zodiac: The Chinese Zodiac Choral Concert, promoting Chinese culture.

Macao Chinese Orchestra 2024–25 Concert Season (August 2024 to July 2025)
In this season, the Macao Chinese Orchestra will present the double concerto Macao Rhapsody, featuring the liuqin and Portuguese guitarra, showcasing a harmonious blend of Chinse and Western musical sounds. Additionally, they will launch the “Classic Series,” which includes two special concerts focused on Cantonese opera and guqin (a traditional Chinese string instrument), allowing the audiences to appreciate the charm of traditional Chinese culture.

Centred around Macao’s old town, the “Historic Centre of Macao” is a blend of Eastern and Western cultures, represented through 22 buildings and 8 squares. The photography collection Where the World Heritage Shines – Photographs of the Historic Centre of Macao features precious images captured by Macao photographer Chan Hin Io across three photographic eras: film, digital, and aerial photography. Chan Hin Io will open the window for us to observe the historic district.

After 1992, Chan, who frequently travelled from Zhongshan to Macao, was deeply impressed by the unique artistic style and religious atmosphere of the historic buildings in the old district (at that time, the “Historic Centre of Macao” had not yet been designated as a World Heritage site). He moved to Macao in 1999. In 2004, during the application period of the “Historic Centre of Macao” to be listed as a World Heritage Site, he began his “documenting the district” journey. Chan candidly started that over the past 30 years, not many landscape in the district has changed, that preserves its cultural heritage. His feelings towards the area is evident in his opening statement during the interview, “I am happy to live in the heart of the Historic Centre of Macao.” This reflects a profound sense of cultural pride.

Chan’s photographic creations reflect his meticulous craftsmanship. As we browse through the photography collection, we often discover new perspectives on the district’s landmarks. Among the many sites in the area, Chan has a particular fondness for the Ruins of St. Paul’s. Despite having photographed it countless times, he expresses, “Every visit to the Ruins of St. Paul’s brings different feelings, revealing various angles.” His photographic work Bronze Pigeon on the Pediment, Symbol of the Holy Spirit focuses on the top of the façade, using a microscopic view to challenge conventional perceptions of the landmark. Meanwhile, Na Tcha Temple and the Back of the Ruins of St. Paul’s  constructs a visual dialogue between Eastern and Western beliefs through the coexistence of the two buildings.

“The relationship between people and architecture is always important,” he notes. A highlight of the book features Macao’s festive celebrations and religious activities, with Chan expressing a deep impression of the “Procession of Our Lady of Fatima.”  “The statue was carried into the Chapel of Our Lady of Penha, with nuns and worshippers raising candlelight in prayer, which was very moving.” In addition to the chapter on “St. Dominic’s Church”, the photographs Fr. José Kao in Prayer and Shen Gong Xi, Cantonese Opera in Ritual Performance, for the Festival of Tin Hau, Protector of the Seafarers also underscore the significance of people, as it is the individuals who imbue images and architecture with enduring vitality.

Bronze pigeon on the pediment, symbol of the Holy Spirit (Photo by Chan Hin Io)

Na Tcha Temple and the back of the Ruins of St. Paul's (Photo by Chan Hin Io)

The “Historic Centre of Macao” preserves the features of an early Asian trading port. It reflects the close relationships between Macao, Mainland China, Korea, and Japan. Now, let’s uncover the hidden histories behind these heritage buildings through the following questions!

Q: Where was the birthplace of the important modern Chinese work Warnings from a Prosperous Era (Shengshi Weiyan)?

A: The Mandarin’s House. The Mandarin’s House is the Zheng Family Mansion is closely related to China’s modernisation. In the past, the renowned modern Chinese thinker Zheng Guanying lived here and wrote his import work Warnings from a Prosperous Era (Shengshi Weiyan). This book advocates learning from the West and pursuing reform and self-strengthening, profoundly influenced figures like Kang Youwei, Liang Qichao and Sun Yat-sen, thus promoting China’s modernisation process.

Q: Which college did Japanese missionaries attend in Macao?

A: St. Paul’s College. The Ruins of St. Paul’s are the remains of the façade of the church affiliated with St. Paul’s College. This college was the first Western-style university in the Far East. In the early 17th century, the founder, Father Alessandro Valignano, shared in a letter to the Jesuit Superior General that St. Paul’s College which could cultivate numerous theological talents, was called it as the only saviour of the Vice Province of Japan (an organisational structure of the Society of Jesus, which was not officially upgraded to a Province until 1611).

Q: Who is the statue of the Korean figure inside St. Anthony’s Church?

A: Kim Taegon. Built in the 16th century, St. Anthony’s Church is regarded as one of Macao’s three ancient churches. Inside this church is a statue of Kim Taegon, the first Korean priest. He came to Macao to study theology in 1836 and was ordained a priest in Shanghai in 1845, after which he returned to South Korea to begin his missionary work.

Unlocking Macao’s Artistic Events:

Macao International Parade 2025 (March 2025)
The parade will centre around the Historic Centre of Macao. In addition to 60 local art teams, 23 art teams from 15 countries and regions will participate. This includes artistic groups from Huzhou (China), Kamakura (Japan), and Anseong-si (South Korea), all of which have also been designated as the “Culture Cities of East Asia” 2025. Together, these East Asian countries will showcase the spirit of “Coexistence, Innovation and Harmony”.

Macao Orchestra 2024–25 Concert Season (August 2024 – July 2025)
In this season, the orchestra will not only hold the “Unforgettable Melodies” concert series at the Ruins of St. Paul’s but will also launch the A Magnificent Night at St. Dominic’s Church series, featuring classic works by renowned composers such as Brahms, Dvořák and Mozart at the St. Dominic’s Church. Audiences will enjoy the charm of music in these historical buildings.

As a crucial trading hub on the Maritime Silk Road, “harmonious coexistence” is a prominent feature of Macao’s culture. Due to this unique cultural charm, “East-West Encounter, Asia in Harmony” has become the theme for Macao as the “Culture City of East Asia” 2025.

Macao historical heritage scholar Ieong Hoi Keng has focused for many years on the study of Macao’s World Heritage, intangible cultural heritage, and documentary heritage (i.e., Memory of the World Programme). In 2025, she will become the first Chinese member of the judging  panel for the UNESCO Memory of the World International Register. She believes that the phenomenon of cultural coexistence is not taken for granted. Using the chrysanthemum carvings representing Japan on the Ruins of St. Paul’s as an example, she narrates the history of Japanese Catholic missionaries who faced persecution due to Japan’s ban on Christianity and sought refuge in Macao to continue their missionary work. She states, “This history reflects Macao’s confidence in its own Chinese culture and its broad-mindedness towards foreign cultures.”

To deeply understand and promote Macao’s culture, Ieong believes that books are powerful carriers of cultural knowledge. The “Macao Knowledge Series” launched by the Macao Foundation serves as a solid cultural foundation, building the cultural walls of Macao. For instance, Macao World Heritage highlights various attractions in the “Historic Centre of Macao” reflecting the blend of cultures from Macao, Mainland China, Portugal and beyond. She further elaborates that “World heritage is like a halo, and that halo continuously expands,” describing the cultural heritage protection and utilisation effects during the 20th anniversary of the successful World Heritage listing of the “Historic Centre of Macao”. Thanks to measures such as the promulgation of the Cultural Heritage Protection Law, the publication of numerous related books, and the implementation of the “Historic Building Maintenance Subsidy Scheme”, along with a significant increase in community awareness of conservation, the Mandarin’s House (the Zheng Guanying's Family House) has become a model for large-scale restoration projects. The peeling façades of the old buildings at Senado Square have received attention, and once-forgotten Chong Sai Pharmacy (Chinse-Western Pharmacy) is now revitalized. Each visible piece of history contributes to the vitality of Macao’s culture.

At the same time, Ieong points out that learning from experiences is equally crucial. She recommends The East Asian Experience in Intangible Cultural Heritage Protection, which indicates that the cultural origins of East Asian region such as China, Japan, South Korea, and Macao are closely linked to Chinese culture. Andong, South Korean, home to two World Heritage Sites, is praised as the “cradle of Confucianism thought on the Korean Peninsula”; Japanese Kabuki Theatre and Chinese opera are referred to as “Sisters flowers of Eastern artistic traditions.” It is these shared cultural roots that lays the foundation for cooperation among East Asian countries today. Ieong summarises the cultural intertwining among East Asian cities with “you in me, and I am in you”, suggesting that cities learn from each other’s experiences, which will help East Asian cultures shine even more brilliantly in mutual reflection.