From rituals to classroom: exploring Hong Kong’s traditional rite music

Rite music in southern China refers to traditional music performed during rituals and ceremonies, serving to honour ancestors, mark significant life events, and fostering community cohesion. This music is most commonly heard at rites of passage, festivals, and within Taoist, Buddhist and popular religious organisations, where it plays a crucial role in transitions between different stages and statuses. On this occasion, however, the public was offered a unique opportunity to appreciate the music in a simulated ritual setting, accompanied by insightful explanations from Dr Matt Ma Kin-hang of the Department of Social Sciences and Policy Studies (SSPS).

In June 2024, Dr Ma received funding from the Lord Wilson Heritage Trust for a two-year project titled “Traditional Rite Music and Jiao Festival Music in Hong Kong in the Context of Cultural Exchanges between Guangdong, Hong Kong and Macau” (粵港澳文化往來脈絡下的香港傳統儀仗及醮師儀式音樂). As part of this initiative, a series of public workshops were organised on 10 and 17 May, and 7 June 2025, providing the public with the opportunity not only to learn about the project’s findings, but also to experience live demonstrations of rite music.

Chinese culture places great emphasis on the roles of rite and music in embedding social and cultural norms within interpersonal relationships and spiritual practices. For over a century, traditional rituals have played a vital role in both rural and urban communities throughout Guangdong, Hong Kong, and Macau. Rite music—performed by professional musicians—is integral to these practices and has become a key component of Cantonese music and ritual traditions in modern society. Their cultural importance is also demonstrated by the inclusion of numerous items in Hong Kong’s Intangible Cultural Heritage (ICH) Inventory, which features rite music as part of their practices and traditions.

Dr Ma has conducted extensive research on traditional rite music, ritual musicians and ritual specialists’ communities over the past two decades. “Social changes are inevitable and they leave marks on local cultures and traditions. The rapid urbanisation of Hong Kong has placed many of our traditional rituals and ceremonies, including the music performed at these events, at risk of disappearing. I hope that through the research and public education efforts of my project, supported by the Lord Wilson Heritage Trust, we can preserve this precious intangible cultural heritage,” Dr Ma remarked.

The research and publication component of the project examines the practice and context of traditional rite music, as well as how these elements are connected to life rituals—those significant to individuals and those that celebrate important community events. To encourage public engagement, the project included a series of six public workshops. During these sessions, traditional musical themes such as those played in ritual of Quanzhen school of Taoist (全真道, Complete Perfection school) and Cantonese rite of Buddhist ritual (釋家廣東佛事) were explored. Ritual musicians and specialists were invited to demonstrate how rite music is performed in different ritual contexts. The first four workshops were held at EdUHK’s North Point Study Centre, while the fifth and sixth took place at the Hong Kong University of Science and Technology (HKUST).

In the second workshop of the series on 10 May, Professor Liu Tik‐sang, Associate Professor Emeritus from the Division of Humanities at HKUST, provided an overview of the subject, discussing the reasons for the existence of rite music and its role in traditional rituals held in rural communities of the New Territories. “Music evokes emotion. Similar music is shared among various rural communities in southern China. When rite music is played in one village, it connects that village to others,” Professor Liu explained.

During the opening session, Dr Ma presented a historical overview of rite music since the early 20th century. “Ritual practices have changed significantly over the past century. For example, in the 1950s, funeral processions were still practised on the streets of Hong Kong. These processions often included ritual musicians playing cymbals and drums as family and friends, alongside the coffin and hearse made their way to the deceased’s final resting place,” Dr Ma noted. He further explained that different rite melodies are performed depending on the occasion. “For joyous events such as weddings and birthday banquets, inaugural ceremonies, and celebrations on patron deity birthdays, ritual musicians avoid wearing white attire, but at funerals, they wear white uniforms and perform elegiac music,” he added.

Dr Ma also explained the underlying cultural meanings and functions of rite music to attendees. “People often associate rite music with occasions related to death management, carrying the connotation of bad luck from hearing it. This stigma actually hinders our understanding of a musician’s role in various ritual contexts, such as fortune-seeking rituals in the community, and other Taoist and Buddhist monastic setting. Besides, we should acknowledge that the identity of professional musicians can be fluid due to their career trajectories. It is not uncommon for some of them to work for Cantonese opera troupes and music societies, or serve as ritual specialists,” he said.

Between Professor Liu’s and Dr Ma’s elaborations on the development and context of rituals, ritual musicians performed music simulating the processes of ritual occasions. Taoist and Buddhist organisations in south China have a long tradition of inviting ritual musicians (醮師) to perform in their rituals, both in monasteries and public settings. Records from the early 20th century show Cantonese Buddhist rites practised in the region. By the mid-20th century in Hong Kong, Quanzhen school Taoist and Cantonese Buddhist rite organisations had further developed. “In addition to the rituals practised among the followers and practitioners of the organisations, these religious organisations offered ritual services for fortune-seeking, death management, and ancestral worship that connected with the wider public. The involvement of ritual musicians in the development of these rituals is undeniable,” Dr Ma illustrated.

Commonly referred to as the Eight Categories of Instrumental Music (鑼鼓八音), a percussion troupe includes musicians playing the suona (aka dida), drums, cymbals, and gongs, or other instruments depending on the ritual occasion. In rural Hong Kong, unicorn dancing is also accompanied by a smaller musician troupe. “Rite music is also commonly heard at Jiao Festivals. Known as ‘Da Chiu’ (打醮), the Jiao Festival is usually held in rural communities of the New Territories to express gratitude to deities for their blessings and prosperity for the community. Rite music is an essential part of these festivals,” Professor Liu explained.

To provide audiences with a first-hand experience of the music and associated customs, musicians were invited to perform ritual music of the Quanzhen school of Taoism and Cantonese Buddhist rites for fortune-seeking and pacification rituals during the third to sixth workshops, held on 17 May and 7 June. In the third and fourth workshops, Taoist ritual music from the Quanzhen school was performed alongside Taoist ritual specialists. In the fifth and sixth workshops, musicians played music for Cantonese Buddhist rituals as lay Buddhist practitioners chanted scriptures from their ritual tradition.

Each of the workshops also reserved a Q&A session to encourage dialogue between participants from the public and the ritual musicians and specialists. In the workshop on traditional rite music in the New Territories, one of the ritual musicians showed appreciation for Dr Ma’s efforts in researching the history and current development of rite music. “We are pleased that rite music is recognised as an item of ICH, which highlights its conservation value. I hope these workshops help the public gain a deeper understanding of the music, its practitioners, and our culture,” he said.

During the workshop on the music of the Quanzhen school of Taoism in Hong Kong, a ritual specialist shared her experience and insights into learning music and ritual knowledge. “In fact, ritual scripture chanting and music theory are two completely different forms of knowledge. We have experienced the traditional method of focusing on memorisation but lacking modern knowledge-based reasoning. The effective use of tools and organising knowledge would be helpful in conserving the heritage,” she added.

In the workshop on Cantonese Buddhist rites, an experienced practitioner expressed hope that more people would be interested in the traditional way of ritual chanting and music so that the knowledge and skills can be passed down to the next generation. “Everyone can learn! It takes time to master the skills, and it is about your commitment to learning and practising regularly,” the practitioner remarked.

Dr Ma expressed his gratitude to all the ritual musicians and specialists who participated in the six workshops. “Their musical performances were so immersive that the audiences felt as if they were attending a ritual setting,” he said appreciatively. Dr Ma also extended special thanks to his mentor, Professor Liu, and the South China Research Center (SCRC) at HKUST for their invaluable support, as well as to the Lord Wilson Heritage Trust for its support. Established in 1992, the Trust collaborates with the community to promote the conservation of Hong Kong’s historical and cultural heritage.

Urban development has transformed rituals due to modernisation, changes in urban space management, and evolving ceremonial arrangements. As cities modernise, traditional practices may adapt or diminish in response to new societal values and lifestyles. “Traditional rite music are precious heritage passed down through generations. It is integral to our culture, helping us make sense of our experiences and the world around us. It would be a great loss if these traditional arts were to disappear. I hope that through its research, publications, and public workshops, the project can contribute to the conservation of our cultural heritage,” Dr Ma concluded.