CHINESE AND PORTUGUESE CULTURES IN MACAU A Short Comparative Study and Prospects

Jean Berlie

　　This paper tries to compare, from a sociological viewpoint, the Chinese and Portuguese cultures in Macau. The territory is the oldest example of a syncretic and continuous relationship　between Eastern and Western cultures, over more than four centuries, and it will be returned　to China on December 20, 1999.
　　The author, born and educated in the French cultural system, is bound to understand Western culture better. However, be hopes that his knowledge of Chinese and Portuguese languages and twenty years of personal questioning about Eastern culture carries some weight, and that his last six years of research in the field devoted to the study of Chinese culture in　South China will be taken into account by the reader. This paper is expected to be ah introduction to a Ionger research on this topic. A modern Cartesian methodology includes one year, without interruption, spent inside a family ora larger human group to have a better understanding of their culture. In the present case an enquiry should be conducted in Macau itself, at　least during twelve or thirteen months in order to gain a certain credibility.
　　Questions have been raised about the value of comparing different cultures, but the uniqueness of Macanese(Macaense) society requires a new approach to Chinese and Portuguese cultures in the run-up to 1999. The observer/observant methodology may enlighten the projected　cultural taxonomy. The proposed essay constitutes a first step towards a global view of the society of the territory.

TWO CULTURES IN ONE


　　Before trying to define the key traits of Chinese and Portuguese cultures, a definition of the　concept“culture” is necessary. Cultura, the equivalent term in Portuguese is much older than　in English because the Anglo-Saxon concept appeared only in 1805. Wang Gungwu, explained　that wenhua also carne late after being borrowed from Japanese, bunka is written with the　same Chinese character wenhua. The concept is similar in both languages and conveys the idea　of being civilised(Wang 1991: 146). A problem, to be investigated in other studies, is the real　difference between culture and civilisation. Culture here is the training and refinement of　mind, the symbolic dimension of “man” in a particular region of the world anda pattern of　thought and action that pervades the form of behaviour and institutions of society. In his last　book (The DAI of China), the author tried to include history, social organisation, languages　and religion as a basis to understand a particular culture of South China. Here, the reader can　expect a preliminary framework of cultural patterns and some ideas for shaping an attractive　future for Macanese society.
　　Deriving from South - Western Atlantic Europe, the first trait of the Portuguese culture is　maritime, in contrast with the Chinese culture rooted in agriculture. From the sixteenth century up to now, through education policy and certainly with variable diplomacies during the long　succession of centuries in Macau, Portuguese culture succeeded to remain prosperous alongside the surrounding powerful Chinese culture.
　　Where did this specific Chinese culture come from ? The ancient Nanyue culture and Canton　province itself certainly played an important role in shaping the cultural soul of Macau. Cantonese is the most common language in Macau, it belongs to the Yue dialect. Concerning　education, a non - exhaustive summary follows: Before the recent creation of the University of　Macau, Cantonese was taught in the Central Secondary School (Escola de Lingua Sinica) (Macau 1927: 108- 110). The total number of teachers inthis secondary school was 12 and　37 students were matriculated in 1909 - 1910. Ar present, the Portuguese language still dominates the administration, but is in competition with English in the business world, and Putonghua already plays a proportionate]y more important role here than in Hong Kong. Other dialects such as Shanghainese (Wu dialect), Chaozhounese and Fujianese (two Minnan dialects) are secondarily represented in Macau. Each dialect, and in particular the Portugese language　spoken here, is in itself a cultural heritage anda treasure. The following abridged comparative　table shows the guidelines of this paper.
　　Comparative table of the Portuguese and Chinese cultures
　　Portuguese Culture　　　　　　　　 Chinese Culture
　　- Origin: Mediterranean and Celtic - Origin: Syncretic(assimilation of other cultures
　　　　　　　　　　　　　　　　　　　 developed inside the limits of the Middle Empire)
　　- Main characteristic:　　　　　　 - Agricultural and secondarily
　　Maritime　　　　　　　　　　　　　 maritime
　　- Epic　　　　　　　　　　　　　　 - Historie
　　- Poetic(mainly based on　　　　　 - Poetic(naturalist, aesthetic
　　sentiments and religion)　　　　　 and ethical)
　　- Individualistic　　　　　　　　　- Holistic and Multipolaristic (guanxi network systems
　　　　　　　　　　　　　　　　　　　 including in particular family, friends,
　　　　　　　　　　　　　　　　　　　 class-mates…and associations)
　　- Tolerant　　　　　　　　　　　　 - Adaptable
　　Portuguese culture is epic (Camões, Mendes Pinto(1514- 1583) and Pessanha are models　of such a tradition). However, the historic dimension prevails. History is one of the main Chinese cultural traits. According to Stephan Feuchtwang (1991:267), history is “a teleology of　the nation in the eternal existence of its tradition, already there in culture but not yet entirely　apparent or a]ive to its population.”
　　Parallel to the traditional behaviour culturally nurtured by a cult of Chinese history, there exist new sentiments of modernity. Modernity is nota consistent criterion but a disputed terrain. The cultural future of Macau is linked to the present “Four Modernisations” of China, slowly　replaced by a new slogan of post-modernity Gaige Kaifang “Openess and Reforms”.
　　In the new age of post - modernity, according to Daniel Bell and Gilles Lipovetsky, rigid　cultural oppositions are disappearing. The relationship between culture and economy is　changing. The negation of tradition and a cult for newness and change exists more than ever. However, Portuguese and Chinese cultures are both influenced by Hong Kong and its current　newness. Guangzhou also, the main city in the environs of Macau, cannot be ignored in any　case. Modernism is always going forward and what was modern some years before becomes　old and obsolete . Modernity is considered by aficionados of classical art, as the end of a certain form of perfection or “natural supranaturalism”, as noted by Paul Valery in 1927 when he　joined the French Academy. God is dead in the present period of post- modernity, but for the　Taoist Gushen bu si(“The God of the velley never dies”)(Dao De Jing, chap. 6). An optimistic view of modernity will appear in the next paragraph(“Prospects”).
　　Louis Dumont found the roots of individualism in Christian culture. Portuguese culture in its　modernity is individualistic in contrast with Chinese holistic society which has subordinated the　individual with sometimes willing and sometimes without his knovoledge for centuries. A nominalist society, in contrast gives reality to the individual and not to relationship. Some writers　over - emphasised individualism and mentioned a lack of identity in post - World War ll　Macau(Fernandes 1986: 19). However, hierarchy , as noted by Dumont(1985: 19), is disliked　by Western societies. The antithetical aspect of their individualistic and holistic natures, is　may be the strongest difference between Portuguese and Chinese cultures.
　　Chinese culture in Macau, encircled in a series of guanxi, networks of individuals, is more　complex. Of course the large family, as in other Asian countries, constitutes the first holistic　and multipolar circle. However, friends , class-mates and various associations contribute to　establish and maintain intricate Chinese cultural networks. Cantonese, Shanghainese and Fujianese speakers, including former Huaqiao Overseas Chinese from various parts of Southeast　Asia(Indonesia in particular), live and conduct their business and public life through such　social, political and professional relationships. The cultural impact of confucianism on Chinese society was studied by Jacques Gernet( 1990:86 and 1991:27).
　　Concerning ethics, each culture has its own advantages. According to Joseph Needham, after Max Weber, matter and spirit are typically divided in Western culture in contrast with the　holistic emphasis of Chinese civilisation. How then did current utilitarianism or modem affirmation of materialism develop? We do not find an obvious answer. From the beginning of the　Dao De Jing, the Heaven (Tian) and the Earth (Di) are symbolically united in the concept of　non - existence (“not to be”), the concept of existence leads to Wanwu Zhi Mu (“the Mother　of 10,000 Things”).
　　The Chinese religion, a part of the Macanese culture, is mainly an ancestors’ cult and secondarily a syncretism of Taoism, Confucianism and Buddhism. Almost unkown, Chinese Islam　also exists in Macau. Conversely , Portuguese culture finds its roots in the epic, emotion and　religion. In post - modern times where society and individuais are constantly adjusting themselves to fast changing circumstances, the core Portuguese culture may be defined as more individualistic because, similarly to many other Western cultures, it is centered on the nuclear　family which constitutes the atomic element of the society. That does not reduce the importance of the tradition in certain families who speak Portuguese at home. Finally, what trait　should be promoted in Macanese culture? May be Portuguese tolerance and Chinese　adaptability.

PROSPEOTS


　　As pointed out by Rigaud, the State is the heart of ali refiections on culture. A former governor of Macau (OGA 1966:37) noted that one of the main points to guarantee a bri8ht cultural future is founded on a faith in the qualities of the people of Macau. The Sino - Portuguese Joint Declaration on the other hand (Annex I/l)states that:
　　“Baochi xianxing de shehui, Jingji he shenghuo fangshi, wushi nian bu bian.”(“The current　social and economic systems and life - style in Macau shall remain unchanged for fifty years.”)
　　Being the intermixing of two main cultures, the Macanese culture has played an important　role in the cultural development of Macau for more than four centuries . Being a living force　this unique culture has been enriched by the alchemistic integration of two cultures. The question is what culture will remain in the 21th century?
　　The following is a possible model: As defined by the UNESCO in 1982 , after Max　Horkheimer and Theodor Adorno in 1947 (Dialectik der Aufklarung), cultural industries　are supposed to cover for example photography, computer science, film , television radio, record　-players, video-tape recorders, tourism, advertising and even the relations between these　industries. After 1999, Portuguese culture, according to the Joint Declaration, may stand as a　link between Chinese culture and the major cultural areas of the world . This window on the　outside cultural and economic world has to be framed during the seven years to come. Creativity in education may contribute in shaping the modern culture expected by the entire　society. As pointed out by Augustin Girard (UNESCO 1982:38); the development of new audio-visual products and networks such as videograms, satellites, computer technology, telephone and television screens will in the Iong- term, dictate the future of ali visual products. Certainly China wants to be involved in the development of these new industries and technology leading to an expected increased cultural impetus satellite television for example.
　　The evaluation of over-all financing, expenditure and economic objectives, outside the　scope of this essay is only mentioned in passing. In particular, the negative effects of the cul-tural industries will be considered in terms of expenditure in relation to move traditional　activities. It is more realistic to analyse their positive interactions to determine under what　conditions(promotion, distribution and training)each industry could support the cultural system at each stage of its new development. In Macau, this is a challenge for today and tomorrow.　　　　　　　　
　　After Augustin Girard, we can see the role of the public authorities as:
　　1. Stimulating the cultural life of the people 2. Improving the quality of the mass media 3. Fostering creative work offering scope for diverse professional and artistic talents 4. Modernising traditional cultural institutions 6. Safeguarding Macau’s cultural influence.
　　In order to bring about a harmonious future to the people of Macau and its own culture, implementation of cultural policies have to be prepared through education, training of specialists , media(cinema, radio, televison, newspapers and magazines), libraries, museums, theaters　and young people are obviously the most important elements of cultural potential.
　　For a modernisation of culture and the preservation of its cultural treasures and records, Macau certainly needs new models of public and private intervention at the eve of the coming　century.

REFERENCES



BARRET, Richard A. (1991)　　　　 Culture and Conduct. An Excursion in
　　　　　　　　　　　　　　　　　Anthropology. Belmont, Cal.: Wadsworth , 238 p.
BENNET, A. B. J. Fryer. (1967)　　The introduction of Western Science and Technology in-
　　　　　　　　　　　　　　　　　to Nineteenth Century China. Cambridge, Mass. Har-
　　　　　　　　　　　　　　　　　vard University, 157p.
BERLIE,Jean. (1991)　　　　　　　 Les Dai de Chine. Metz: Cercle de Culture et de
　　　　　　　　　　　　　　　　　Recherches Laotiennes (Research Centre on Lao
　　　　　　　　　　　　　　　　　Culture), 137p.
DA SILVA, Beatriz B. (1989)　　　 Presença Portuguesa no Oriente (Portuguese Cultural
　　　　　　　　　　　　　　　　　Heritage in the Far East). Macau: Post and Telecom-
　　　　　　　　　　　　　　　　　munication, 51 p.
DIAS,Jorge. (1986)　　　　　　　　Ossencial sobre os Elementos Fundamentais da Cultura
　　　　　　　　　　　　　　　　　Portuguesa. Lisbon: National Press, 59 p.
DUMONT, Louis. (1985)　　　　　　 Essais sur I’Individualisme. Une Perspective Anthro-
　　　　　　　　　　　　　　　　　pologique sur I’ldéologie Moderne. Paris: Seuil, 1 st.
　　　　　　　　　　　　　　　　　ed. 1983, 314p.
FERNANDES, Henrique S. (1986)　　 “Macau de Ontem”, In: Presença da Cultura Portugue-
　　　　　　　　　　　　　　　　　sa no Extremo Oriente(“Portuguese Culture in Eastern
　　　　　　　　　　　　　　　　　Asia”). Macau: Cultural Institute, 5 - 20.
FEUCHTWANG, Stephan and　　　　　 “The Politics of Culture ora Contest of Histories: Rep-
WANG Mingming. (1991)　　　　　　 resentation of Chinese Popular Religion”. Dialectal An-
　　　　　　　　　　　　　　　　　thrpology 16, 251 - 272.
Foreign Languages Ed.(1987)　　　 Zhongguo Renmin Gongheguo Zhengfu he Putaoya
　　　　　　　　　　　　　　　　　Gongheguo Zhengfu Guanyu Aomen Wenti de Lianhe
　　　　　　　　　　　　　　　　　Shengming. Declaraçao Conjunta Sino - Portuguesa So-
　　　　　　　　　　　　　　　　　bre a Questão de Macau. Beijing: Foreign Languages
　　　　　　　　　　　　　　　　　Edition, 83 p.
GERNET, Jacques. (1990)　　　　　 Le Monde Chinois. Paris:Armand Colin, 1st. ed. 1972,
　　　　　　　　　　　　　　　　　699p. (also translated in English).
　　　　　　　　　　　　　　　　　(“Confucius” chap. 4/2, 85 - 86).
c. 1991　　　　　　　　　　　　　 “Le Confucianisme comme Projet Culturel et Projet de
　　　　　　　　　　　　　　　　　Société”. In' La Culture comme Projet de Société
　　　　　　　　　　　　　　　　　(“Culture as a Project for the Society”). Campin,
　　　　　　　　　　　　　　　　　Belgium: Universities Press, 23 - 29.
LAO Zi.(1984)　　　　　　　　　　 Lao Zi Jiaoshi (“The Teaching of Lao Zi”). Beijing:
　　　　　　　　　　　　　　　　　Zhonghua Shuju Edition, 18+342p.
LE MONDE. (1992)　　　　　　　　　“La Chine et I’Occident”. Le Monde. December 24 ,
　　　　　　　　　　　　　　　　　1992, pp. 1,6.
LIPOVETSKY, Gilles. (.1983)　　　 L’Ere du Vide. Essais sur I’Individualisme Contempo-
　　　　　　　　　　　　　　　　　rain . Paris: Gallimard 249 p. (“Modernity and Post-
　　　　　　　　　　　　　　　　　Modernity”, 89 - 151 ).
MACAU.(1927)　　　　　　　　　　　Anuario de Macau. Ano de 1927. Macau: National
　　　　　　　　　　　　　　　　　Press, 391+110 p.
MENDES PINTO, Fernao. (1614)　　　Peregrinação (“Peregrination”). Mem Martins: PEA,
　　　　　　　　　　　　　　　　　no date, 2 vols. 367+367 p.
METAILIE, Georges. (c. 1992)　　　“Guanyu Jindai Zhiwuxue” (“About Contemporary
　　　　　　　　　　　　　　　　　Botany”) (ms), 5p.
NEEDHAM, Joseph. (1972)　　　　　 Science and Civilisation in China. History of Scientific
　　　　　　　　　　　　　　　　　Thought. Vol. 2. Cambridge: Cambridge University
　　　　　　　　　　　　　　　　　Press, 1st. ed. 1956, xxiv+697p.
1976　　　　　　　　　　　　　　　“History and Human Values”. Centennial Review 20/3
　　　　　　　　　　　　　　　　　-4, 1 - 35.
OGA.(1966)　　　　　　　　　　　　Discurso do Governador de Macau no Conselho
　　　　　　　　　　　　　　　　　Legislativo. (“A Speech of the Governor of Macau in
　　　　　　　　　　　　　　　　　the Legislative Council”). Lisbon: Overseas General A-
　　　　　　　　　　　　　　　　　gency(OGA), 77 P.
RENARD,Jacques. (1987)　　　　　　L’Elan Culturel(“The Cultural Impetus”). Paris: PUF,
　　　　　　　　　　　　　　　　　227p.
RIGAUD, Jacques.(1990)　　　　　　Libre Culture (“Free Culture”). Paris: Gallimard, 445
　　　　　　　　　　　　　　　　　p.
TOMAS, Maria Isabel. (1992)　　　 Os Crioulos Portugueses do Oriente . Uma Biblliografia
　　　　　　　　　　　　　　　　　(“Oriental Portuguese Creole Dialects. A　　　　　　　　　　　　　 A
　　　　　　　　　　　　　　　　　Bibliography”). Macau: Cultural Institute, 245 p.
TSCHUMI,Raymond.(1975)　　　　　　Théorie de la Culture (“A Theory of Culture.”).
　　　　　　　　　　　　　　　　　Lausanne: L’Age d’Homme, 267 p.
UNESCO.(1982)　　　　　　　　　　 Cultural Industries. A Challenge for the Future of
　　　　　　　　　　　　　　　　　Culture. Paris, 236 p.
(1987)　　　　　　　　　　　　　　Cultural Development. Some Regional Experiences.
　　　　　　　　　　　　　　　　　Paris, xiii+477 p. (“Cultural Devlopment in Asia”, 193
　　　　　　　　　　　　　　　　　-281).
WANG Gungwu. (1991)　　　　　　　 The Chineseness of China. Hong Kong: Oxford Univer-
　　　　　　　　　　　　　　　　　sity Press, xii+354 p.