【原文】下文摘錄自2023年5月26日香港《文匯報》︰

有些技藝、筆墨甚至聲音，或者已漸漸被大眾遺忘，但有幸是在香港這個城市的角落裏，有人默默傳承該些技藝的傳統。康文署轄下非物質文化遺產辦事處（非遺辦事處）策劃的新展覽「人為·非遺」，正於由一級歷史建築活化而成的中電鐘樓文化館展出，展出十項屬香港非物質文化遺產（非遺）的傳統工藝和表演藝術，藉此加深市民對非遺保護和傳承的認識。是次展覽免費開放予市民參觀，暫無結束日期。非物質文化遺產辦事處館長岑佩玉表示，希望透過展示師徒合作，帶出手藝的傳承過程。

客席策展人蕭國健，在「人為·非遺」展覽中以「衣與履」、「裝與飾」、「字與音」三大展區，透過實物、互動裝置和影片的方式，展示香港中式長衫製作技藝、皮鞋製作技藝、木傢具製作技藝、花帶編織技藝、西金首飾製作技藝、玉器製作技藝、活字印刷技藝、貼揮春、印章雕刻技藝和南音十項非遺項目。

蕭國健在傳媒導賞活動上介紹，年輕一代的非遺工作者會在傳承中帶出新意，如在皮鞋製作技藝中，有別於以傳統量度鞋尺寸的紀錄表，新一代造鞋師傅會使用立體掃描技術測量客人的腳部，並為客人製作更合適的鞋楦，以及利用立體技術列印鞋墊，以仿真皮物料作面層，再以塑膠立體列印技術製作底層的鞋墊。

人手製作的裝飾品既具有個人風格，也是情感的載體，傳遞出工匠敬業與樂業的奉獻精神。岑佩玉表示，花帶編織技術在新界流傳已久，客家婦女以花帶作涼帽帶和圍裙帶，並在點燈儀式中來裝飾丁燈，花帶正好讓她們表達對鄉村事務的認知，以及表達她們對美好生活的期盼。

有非物質文化的表演藝術則譜出扣人心弦的旋律。蕭國健介紹，「南音」為一種說唱形式的表演藝術，其中「地水南音」多由失明人士演出，表演者會以古箏、椰胡、拍板等樂器伴奏。二十世紀初，廣東「南音」成為香港流行文化之一，除了街頭賣唱外，茶樓、酒館等場所處處繚繞着溫婉淒美的歌聲。

到二十世紀末，隨着西方文化的衝擊和大眾娛樂的轉變，「南音」漸入暮末，演唱者也漸漸淡出主流音樂的舞台，「所幸是近年來，有失明人士在街頭表演『地水南音』，新一代默默守護着這個廣東說唱傳統，為傳統『南音』的發展譜下新的篇章。」蕭國健說。

他強調，非物質文化遺產無形無相，卻能凝聚社群，通過口傳心授和實踐應用，得以永續傳承，「傳統工藝滿足日常生活所需，表演藝術則豐富了生活色彩，透過化虛為實，把無形的信仰、禮俗和審美觀念，以有形的方式呈現出來。」參觀展覽的市民可在展區內體會到各種技藝的過去、未來和期望，並藉着展示這些非遺項目，呈現師徒間的薪火相傳如何迸發出無窮的生命力和無限的創意。

Traditional arts and crafts live in CLP Pulse exhibitions

【譯文】The public may have gradually forgotten some skills, calligraphy and even voices, but fortunately, some people in the corners of Hong Kong have passed on the tradition of these skills silently. A new exhibition, "Traces of Human Touch", curated by the Intangible Cultural Heritage Office (ICHO) of the Leisure and Cultural Services Department (LCSD), is displayed at the CLP Pulse from now onwards, showcasing ten traditional crafts and performing arts that are part of Hong Kong's Intangible Cultural Heritage (ICH), to enhance the public's understanding of the protection and preservation of ICH. The exhibition is free and open to the public with no end date. Curator of ICHO, Ms Shum Pui-yuk, said that she hoped the exhibition would showcase the collaboration between masters and apprentices to bring out the process of handing down the craft.

Guest curator Stanley Siu, in the "Traces of Human Touch" exhibition, showcases three significant areas: "Apparel and Footwear", "Ornaments and Decorations", and "Words and Sounds", with 10 Hong Kong ICH items including the Chinese Cheongsam-making technique, leather shoe-making technique, wooden furniture-crafting technique, patterned band-weaving technique, karat gold jewellery-making technique, jade carving technique, movable-type printing technique, putting up huichun (spring scrolls), seal carving technique and Nanyin (southern tunes) through physical objects, interactive installations and videos.

Stanley Siu introduced at the media tour that the younger generation of ICH practitioners will bring new ideas to the inheritance. For example, in the shoe-making technique, instead of using the traditional record sheet to measure the shoe size, the new generation of shoemakers will use 3D scanning technology to measure the customer's foot and make a more suitable shoe last for the customer. They will also use 3D technology to make the shoe insole, using simulated leather material as the upper layer, and plastic 3D printing technology for the bottom layer.

The handmade accessories are personal and emotional, conveying the dedication and joy of the artisans. According to Shum Pui-yuk, flower ribbons have been woven in the New Territories for a long time. Hakka women use flower ribbons to decorate their hats and aprons, as well as to illustrate the Ding lanterns during the lantern lighting and to express their awareness of village affairs and their hopes for a better life.

Performing arts with intangible culture is also featured in the melody. Stanley Siu introduced Nanyin as a form of rap, in which the "Dishui Nanyin" is mainly performed by blind people, accompanied by musical instruments such as Guzheng, Yehu and clapboard. In the early 20th century, Cantonese Nanyin became a part of Hong Kong's popular culture. In addition to street singing, teahouses and pubs were filled with gentle and poignant singing sounds.

At the end of the 20th century, with the impact of Western culture and the change in public entertainment, Nanyin gradually entered its twilight. The singers faded from the mainstream music scene, "Fortunately, in recent years, blind people are performing Nanyin in the streets, and the new generation is silently guarding this Cantonese rap tradition and writing a new chapter for the development of traditional Nanyin," said Stanley Siu.

He emphasized that ICH is invisible, but it can unite the community and be passed down through oral tradition and practical application in a sustainable manner. "Traditional crafts meet the needs of daily life while performing arts enrich the colours of life by turning the virtual into the real, tangibly presenting supernatural beliefs, rituals and aesthetic concepts." Visitors to the exhibition will experience the past, future and aspirations of various arts and crafts. By displaying these non-traditional items, they will see how the transmission of skills between masters and apprentices has given rise to infinite vitality and creativity.

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