From salted fish and tennis, to Cantonese opera: Prof Victor Shin’s reflections on teaching and research
Can salted fish be a serious subject of research? Absolutely! "It may come as a surprise, but Hong Kong is actually a global hub and primary distributor of salted fish," explains Prof Victor Shin, Assistant Professor of the Department of Cultural Studies at Lingnan University, enthusiastically sharing the discoveries made by his students in their capstone projects. "On Hong Kong Island’s ‘Dried Seafood Street’, there is a vibrant trading scene reminiscent of Tokyo’s Tsukiji/Toyosu market, where (salted) fish is auctioned through bidding for international export." To bring their research to life, students even cooked salted fish rice at their project exhibition (Capstone Fair), inviting visitors taste this unique piece of Hong Kong’s culinary heritage and maritime history.
Much like making salted fish, which takes experience and effort, these capstone projects entail a delicate integration of knowledge and experience. Prof Shin, who coordinates and supervises these projects, encourages students to dive into their specific passions. "What they achieved often runs deeper than we realise and surpasses our expectations," he notes. “We are not only their mentor but also a facilitator, providing students with the research framework while pushing them to explore and reflect through thought-provoking inquiries.” This approach fosters a mutually beneficial environment where both students and teachers collaborate in research, from salted fish to the artistry of dragon and lion dances and beyond — projects that Prof Shin praises for their creativity and innovative perspectives.
Prof Victor Shin, Assistant Professor of the Department of Cultural Studies at Lingnan University has received over HK$1.1 million from the General Research Fund.
Prof Shin gains insights into teaching from coaching his son in tennis.
A lesson learnt from teaching his son tennis
Prof Shin’s pedagogy is rooted in the belief that a teacher should act as a catalyst for student interest, as he says, “teaching is not only about lecturing but more about facilitating a journey.” Drawing from a personal anecdote about his son’s tennis progress under a professional coach, he realised that fostering enjoyment is the key to mastery. "When my son was young, I tried to teach him tennis myself, but we struggled to make progress," he reflects. "Two years ago, I found him a coach. Now, his passion and skill have far surpassed what I could have taught him. The coach didn't just teach technique; she made him love the sport and practice on his own even outside of lessons." This insight has greatly improved his teaching.
To put this into practice, Prof Shin deliberately integrates experiential learning into his curriculum. By leading students on diverse field trips – such as the Da Jiu Festival on Po Toi Island, the avant-garde Cantonese opera at Xiqu Centre in the West Kowloon Cultural District, and an exclusive backstage tour at Lingnan Arts Biennale, he immerses students in the intersection of tradition and modernity, extending their learning beyond classroom. "Students may forget a lecture after exam, but they do remember the seasickness on the boat, the hunt for the only public restroom on Po Toi island, and the scent of incense at a deity play.” These experiences, Prof Shin explains, "create a rich sensory memory that informs students' broader worldview and enriches their academic knowledge.”
Prof Shin brings Lingnan students to ritualistic Cantonese opera.
Prof Shin discusses the film industry.
Research into Cantonese opera received a GRF of over HK$1.1 million
Prof Shin has received widespread recognition for his research as well as for his teaching. In the latest round of Research Grants Council funding, he was awarded over HK$1.1 million from the General Research Fund (GRF) - the second-highest grant given to Lingnan scholars.
He notes "In my previous GRF research, I focused on the development of traditional Chinese medicine and Cantonese opera in Hong Kong. My current project builds on this foundation by comparing Cantonese opera in Hong Kong and Chinese Mainland.” It examines how social change, geopolitical factors, and institutions like UNESCO influence the way cultural history is developed and transformed. The project investigates how these factors influence the consensus between the public and the government regarding which specific elements of their culture are classified as legitimate and prioritised for institutional support. This research agenda reveals the divergent paths taken to ‘modernise’ traditional culture.
Prof Shin earned his PhD in Sociology from the University of Cambridge, an experience that solidified his lifelong interest in exploring the dynamic interplay between society and individuals. His work examines the complex intersection of ideology and power through a rigorous sociological lens. He identifies the cultural and creative industries, such as Cantonese opera, as critical domains for understanding how social forces shape modern life.
Long recognised as a pivotal cultural hub, Hong Kong has been shaped by a diverse array of intersecting ideologies since the 1950s. Many facets of Hong Kong’s heritage warrant preservation, as they are a living bridge to Chinese traditions and carry profound significance. Through my research and teaching, I seek to challenge students and the broader community to reflect on the factors defining our culture and consider the extent to which these forces shape our identities. I believe that understanding this interplay – the way we shape culture and are, in turn, shaped by it – is the fundamental essence of cultural sociology.
‘Hollywood of the East’ in transformation
In recent decades, the booming media and cultural industries in Chinese Mainland, alongside the expansion of K-pop and the Thai pop culture have exerted significant pressure on Hong Kong's creative industry. This shift prompts a critical question: why has the once-thriving ‘Hollywood of the East’ been met with a wave of cinema closures?
Prof Shin’s attributes this trend to a fundamental shift in the industry's structure. In the past, film distribution in Hong Kong was relatively oligopolistic. During the 1980s and 1990s, major distributors, such as Shaw Brothers, Golden Harvest, Golden Princess, and D&B, operated their own cinema chains while simultaneously investing in film production. This vertical integration ironically allowed for flexibility, as he explains, “if a film underperformed in the box office initially, the chains could extend its run to reach a break-even point.” Today, however, this model has collapsed. He characterises the current state of affairs with a vivid metaphor, noting that “film releases now behave like fireworks: if the opening week fails to gain traction, there is little hope for recovery in the cinema. This shortened screening cycle has made investment riskier than ever. Furthermore, with the rise of competing regional markets and the maturation of online streaming platforms, Hong Kong cinema is losing the competitive edge it once held.” Despite these challenges, Prof Shin maintains that Hong Kong’s cultural economy still holds a vital niche, as culture retains its social value at all times. “It reflects our way of thinking and living, and thus provides a definitive lens for understanding our contemporary world and remains a primary force in charting our future.”
Beyond these shifts, the rapid advancement of technology continues to reshape cultural landscapes. To explore how technology and culture can complement one another, the Professor suggests a dual approach. First, regarding efficiency and accessibility, he advocates for the establishment of a comprehensive digital database for cultural preservation, ensuring that the "essence" of our heritage is easily accessible to the public. Second, concerning public and professional perception, he notes that while research has attempted to integrate AI and other technological elements into performances, these innovations have yet to gain widespread acceptance in some traditional fields like Cantonese opera. He argues that if the industry can view such technology not as a threat to its authenticity, but as a tool to enrich traditional culture, the results will be far more rewarding.
Exploring the conservation and modernisation of traditional culture in Lingnan Arts Biennale 2025
Tradition and modernity are not opposing forces; instead, they exist in a symbiotic relationship, each informing and enriching the other. Prof Shin points to Metamorphoses, the Lingnan Arts Biennale held in October 2025, as a prime example. The event showcased three performance projects, a backstage tour and a seminar, including a collaboration with One Table Two Chairs Charitable Foundation, led by renowned Cantonese opera maestro Prof Franco Yuen Siu-fai. "Our aim is not merely to promote traditional or modern arts,” he explains, “but to encourage the audience to critically examine their own culture through these performances."
When asked if this reflection aids in cultural transmission and preservation, Prof Shin emphasises the importance of critical engagement. "We do not want the public to embrace or reject culture blindly; we want them to understand the underlying reasons for their perceptions and preferences. I believe this is at the core of sociological training – we must not take things for granted but recognise the roots of issues, establish our own positions, and ultimately make informed decision without regrets."
Beyond academic research, Prof Shin maintains a deep passion for Cantonese opera. "It is a comprehensive art form that integrates singing, acting, recitation, acrobatics and martial arts, among many other performance elements." His personal interests also include reading the Bible and poetry. He is particularly moved by Groping in Darkness: Between Talgarth and Hong Kong by a veteran Cantonese opera scholar Prof Chan Sau-yan. The book illustrates how scholars articulate their emotions through prose during challenging times, offering inspiration to others in the process.
Prof Shin is passionate about Cantonese opera.
Prof Shin recommends two essential books to students of all disciplines. The first is the introductory sociology text Readings in Sociology: A Biographical Approach, which analyses social structures through relatable, real-life examples. The second is English Skills for Better Writing, a guide that emphasises clear, straightforward English, in particular for academic research. “English writers will find this book incredibly useful,” he notes, “for the way it unpacks the underlying logic behind our most common pitfalls.”
In this rapidly evolving era, continuous learning is a key to success. The transmission of education and culture requires the kind of unwavering passion and perseverance embodied in Prof Shin’s teaching and research.