Hong Kong’s traditional bamboo scaffolding masters secured international validation last month when the towering temporary altar erected for Kam Tin’s Heung Jiao Festival (commonly known as the Da Jiu Festival) was officially certified by Guinness World Records as the world’s largest temporary bamboo altar structure. This monumental achievement highlights a critical juncture for this intricate craft, as the aging practitioners face the challenge of preserving a vital cultural legacy amidst declining interest from younger generations.
Master Craftsman Leads Record-Breaking Achievement
The immense structure, soaring five stories high and encompassing over 40,000 square feet, was assembled from more than 30,000 bamboo poles. The ambitious two-month project required 17 dedicated craftsmen and was spearheaded by Master Lai Chi-ming, one of the estimated 10 remaining professional bamboo theatre scaffolders in Hong Kong.
Master Lai, who learned the trade from his father through practical, on-site experience, relies purely on visual acumen and mental design rather than modern blueprints. This intuitive approach is central to the craft, particularly when constructing temporary folk theatres, which must be self-supporting—a highly distinct skill set compared to using bamboo for building construction, which typically leans on the rigid structure of the modern building itself. This ability to mentally map and engineer a “castle in the sky” is considered virtually irreplaceable by current computer technology.
The record-breaking structure housed traditional Chinese opera performances, known as Shengongxi, and was meticulously positioned so its central axis aligned perfectly with the main God’s altar on the festival grounds, ensuring the deities had the optimal viewing perspective.
The Art of Temporary Bamboo Architecture
Traditional bamboo theatres are designed to be mobile, constructed from bamboo, fir timber, and simple tools like saws and gimlets, before being covered with galvanised steel sheets for weather protection. Their temporary nature is a hallmark of Hong Kong’s iconic folk culture.
Historical records trace traditional Chinese scaffolding techniques back to the Han, Song, and Qing dynasties. These skills were brought to Hong Kong by craftsmen fleeing political unrest in mainland China, who later refined the methods—notably replacing thatch roofing with more fire-resistant galvanised steel.
Hong Kong features two main styles of these temporary theatres: the simpler, lower “Dragon Boat” style, often seen at the Tin Hau or Hungry Ghost Festivals; and the more elaborate “Great Golden Bell” style. The latter, which was utilised for the Kam Tin Da Jiu Festival, comprises an additional detailed layer atop the basic “Dragon Boat” frame, adding significant structural complexity and flair.
The Da Jiu Festival, an event that has spanned three centuries, is only held once every 10 years; the most recent, 34th iteration means enthusiasts must plan to attend the next festival in 2035.
Preserving an Intangible Cultural Heritage
Despite its rich heritage, the sector faces significant decline. Economic development spurred most of the more than 10 specialised theatre scaffolding companies to pivot towards less complex construction site work. Coupled with the general reluctance of younger generations to enter highly physical manual labour, only approximately four traditional scaffolding companies remain in existence today.
Master Lai acknowledges that while the craft is a unique intangible cultural heritage, passing it on is immensely difficult. The learning process requires intense determination, exceptional memory, innate talent, and a commitment to physically demanding work—qualities he finds scarce among potential young apprentices. He currently does not plan for his son to take over the business.
However, the international recognition of the Kam Tin altar has provided a boost of optimism. Master Lai expressed that if opportunities arise to teach this sophisticated form of architecture in the future, he would enthusiastically embrace the chance to ensure Hong Kong’s distinctive craftsmanship survives for another generation.
The record-breaking bamboo altar stands not just as a temporary structure for a religious celebration, but as a compelling tribute to the skill and enduring cultural legacy of Hong Kong’s master scaffolders. As these practitioners become rarer, the value of their artistry and its conservation increases exponentially.
