Ubin comes alive

21 05 2016

Photographs taken mainly of the Teochew opera performance held on the first day of festivities this year (20 May 2016). The main festivities of the annual celebration take place today, the day of the full moon. The event lasts until Wednesday and will see nightly Teochew Opera performances on one of the last free-standing Chinese opera stages left in Singapore, except for the final night when a Getai will be held. More on the schedule of this year’s festival can be found in this post: The full moon on the fourth month on Ubin.

JeromeLim-9058

JeromeLim-9085

JeromeLim-9099

JeromeLim-9113

JeromeLim-9116

JeromeLim-9129

JeromeLim-9132

JeromeLim-9139

JeromeLim-9142

JeromeLim-9145

JeromeLim-9161

JeromeLim-9164

JeromeLim-9168

JeromeLim-9174

JeromeLim-9301

JeromeLim-9181

JeromeLim-9193

JeromeLim-9199

JeromeLim-9210

JeromeLim-9232

JeromeLim-9237

JeromeLim-9244

JeromeLim-9245

JeromeLim-9248

JeromeLim-9350

JeromeLim-8947

JeromeLim-9274

JeromeLim-9200





The full moon of the fourth month on Ubin

17 05 2016

For a few days around the full moon of the fourth month of the Chinese calendar, Pulau Ubin comes alive for a huge religious celebration held in honour of the popular Taoist deity Tua Pek Kong. The festival offers a glimpse into a Singapore that no longer exists and is a reminder of days when villages would have come alive in similar circumstances during feast days associated with their respective temple’s main deities.

JeromeLim-3324

The schedule for this year’s festival is as follows:

Friday 20th May 2016 (4th Month, 14th Day)

10 am  Invite Tua Pek Kong
11 am  Beginning Ritual sts
3.30 pm  Taoist Ritual Part 1
7 pm  Taoist Ritual Part 2
7 pm  Sin Yong Yong Hwa Teochew Opera performnce
10 pm  Invite Jade Emperor

Saturday 21st May 2016 (4th Month, 15th Day)

10 am  Taoist Ritual
1 pm  Lion & Dragon Dance
2.30 pm  Distribution of Blessed Offering
3.30 pm  Sending off Jade Emperor
7 pm  Sin Sin Yong Hwa Teochew Opera
7.30 pm  Crossing the Ping An Bridge
8 pm  Wei Tio Temple’s Tua Ji Ya Pek visit

Sunday 22nd May 2016 (4th Month, 16th Day)

7 pm Sin Sin Yong Hwa Teochew Opera

Mon 23rd May 2016 (4th Month, 17th Day)

7 pm Sin Sin Yong Hwa Teochew Opera

Tuesday 24th May 2016 (4th Month, 18th Day)

7 pm Sin Sin Yong Hwa Teochew Opera

Wednesday 25th May 2016 (4th Month, 19th Day)

10 am Sin Sin Yong Hwa Teochew Opera Qing Chang (Singing only)
6.45 pm Getai
10.30 pm Sending Tua Pek Kong back

Free Ferry service

20th May 2016
Changi-Ubin 6.30pm-9pm
Ubin-Changi 8pm-10pm

21st May 2016
Changi-Ubin 6.30pm-9pm
Ubin-Changi 8pm-10.30pm

22nd to 24th May 2016
Changi-Ubin 6.30pm-9pm
Ubin-Changi 8pm-10pm

25th May 2016
Changi-Ubin 6.30pm-9pm
Ubin-Changi 6.30pm-10.30pm


More information can be found in the following posts:


JeromeLim-1494IMG_3198

JeromeLim-1583

JeromeLim-3320

JeromeLim-3426

JeromeLim-3220

JeromeLim-3273

 

 

 






Wayang days

7 10 2015

Seeing a stage set up for a wayang, as street theatre has come to known in Singapore, is always a cause for celebration. Wayangs not only add much colour that is otherwise lacking on the street of the modern reinterpretation of Singapore, they also take me back to the happiest days of my childhood and ones spent in a Singapore that now seems a far away place.

Wayangs bring much colour to the now colourless streets.

Wayangs bring much colour to the now colourless streets.

The Chinese street opera, in its various genres would be the most common form of street threatre. Many of the troupes that started out as far back as in the mid 1800s would have had their origins in southern China. One pioneering troupe still around from those times is the Lao Sai Tao Yuan (老赛桃源), or Lau Sai Thor Guan in Teochew (Chaozhou), who arrived in the early 1850s. The troupe, which was already in existence some five decades prior to the move down the southern ocean, continued performing in Singapore during the occupation and would possibly be the oldest Chinese opera troupe still performing here in Singapore.

A Lao Sai Tao Yuan perfromer on stage.

A Lao Sai Tao Yuan perfromer on stage.

Wayang days today, sans what used to be the usual accompaniment of the aroma of steaming groundnuts and cobs of corn and the food laden pushcarts that were as much a crowd puller as the entertainment the wayangs provided, see much less of a crowd. There is also much less of an atmosphere as compared to the days in which wayang days were occasions everyone seemed to look forward to. The embrace of the modern world, and perhaps the abandonment of the vernacular, has resulted in a decline in interest in it as a form of entertainment. No longer a fashionable choice in today’s less unassuming climate, the troupes left today such as the Lao Sai Tao Yuan, survive only out of the passion and the determination of their members to keep a tradition that we in Singapore no longer have a need for, alive.

The stage at Tiong Bahru during Lao Sai Tao Yuan's recent performance. Wayangs today attract much less of a crowd.

The stage at Tiong Bahru during Lao Sai Tao Yuan’s recent performance. Wayangs today attract much less of a crowd.

The Lao Sai Tao Yuan troupe, whose members are all quite friendly, performs quite regularly. Their performances and back stage preparations are a joy to observe. Their next performances will take place on at 12 noon and 7 pm on 9 and 10 October 2015 at the Toa Payoh Seu Teck Sean Tong (修德善堂) at Lorong 2 and on 11 and 12 October 2015 at the Paya Lebar Nine Emperor Gods temple (Charn Mao Hern Kew Huang Keng or 葱茅园九皇宫) at Arumugam Road.


Backstage with the Lao Sai Tao Yuan

JeromeLim-3952

JeromeLim-3975

JeromeLim-3988

JeromeLim-3983

JeromeLim-3986

JeromeLim-3989

JeromeLim-3990

JeromeLim-3998

JeromeLim-4022

JeromeLim-4024

JeromeLim-4042

JeromeLim-4048-2

JeromeLim-4072-2

JeromeLim-4077

JeromeLim-4086

JeromeLim-4103

JeromeLim-4123-2

JeromeLim-4149

JeromeLim-4156

JeromeLim-4160

JeromeLim-4168

JeromeLim-4177

JeromeLim-4184

JeromeLim-4189

JeromeLim-4199

JeromeLim-4130-2






Behind the stage door

27 09 2015

The stage door or hu du men (虎度门) of a Chinese opera stage is what divides the real from the imaginary. It is the line across which the actor leaves his or her real self and becomes the stage character the audience sees. This was one of several interesting facts of what does go on behind the scenes on a Chinese opera, or wayang as we refer to it here in Singapore that I learnt on a back stage tour organised by the Esplanade that I attended last evening. The tour, which was hosted by media personality Nick Shen, is part of this year’s celebration of the Mid-Autumn Festival (中秋节), Moonfest, being held this weekend at the Esplanade.

What goes on behind the stage-door.

What goes on behind the stage-door.

The eleventh edition of the celebration at the Esplanade, sees the venue bringing back the street opera scene with a performances by a Hainanese, a Hokkien and a Teochew opera troupe on each of the three nights of Moonfest this weekend. Wayang in the various genres once commonly found in Singapore, would in the days before lives were complicated by modernity, attract the crowds. Often held to coincide with temple festivities, the wayangs would move from village to village and bring with them an entourage of food stalls with wayangs held either on stages erected for the period or on existing free standing stages. The stage in those days would not just be where the performances were held, but also would have been where life, for the actors and their families, would often be lived.

Nick Shen introducing the concept of the stage door or hu du men (虎度门).

Nick Shen introducing the concept of the stage door or hu du men (虎度门). Stepping beyond the stage door, the opera actor leaves his or her own personality behind becomes fully immersed in the character.

The troupe's deities are an essential part of wayang back stage area.

The troupe’s deities are an essential part of wayang back stage area.

The back stage area is abuzz with preparation activity before each performance.

The back stage area is abuzz with preparation activity before each performance.

The area back stage is always a fascinating place, not least because one is able to observe the lengthly preparations that take place before the actor is able to assume his or her role beyond the hu du men. Hearing about some of what goes on from Nick Shen, whose many talents include Chinese opera acting, made it all the more interesting. Besides introducing the concept of the hu du men and to stage superstitions such as that it was considered bad luck to kick one of the many chests (used to store make-up, props, etc. back stage,  Nick, also provided an insight into life back stage. This was just before last evening’s show by a one year old Hokkien opera troupe, Xiao Dong Tian (小洞天), so participants could also observe some of the preparations for the performance.

Backdrops are an important part of the Chinese opera stage.

Backdrops – an important part of the Chinese opera stage.

JeromeLim-3140

The backdrops are changed by drawing them in a similar way to curtains.

The backdrops are changed by drawing them in a similar way to curtains.

Interestingly, the troupe is a phoenix that has risen out of the ashes of an old phoenix, having been formed by some members of a century old troupe, the Sin Sai Hong (新赛凤), which was disbanded just last year (see: Last rites for the Singaporean soul) – the Hong (凤) refers to a phoenix and it is encouraging to know that the tradition is not completely being lost to the new world as well as that it there are perhaps a few from the younger generation interested in taking up the art.

The headdress for the character of a scholar.

The headdress for the character of a scholar.

Nick Shen doing a demonstration of an actor's beard is sometimes moved on stage.

Nick Shen doing a demonstration of an actor’s beard is sometimes moved on stage.

An female performer wearing a beard. While in the past only men could perform in an opera, there are more female performers these days and they would often be cast in male roles.

An female performer wearing a beard. While in the past only men could perform in an opera, there are more female performers these days and they would often be cast in male roles.

Performers now help each other with preparations. The blue make-up around the eyes is characteristic of Hokkien opera.

Performers now help each other with preparations. The blue make-up around the eyes is characteristic of Hokkien opera.

JeromeLim-3248

JeromeLim-3267

JeromeLim-3279

JeromeLim-3233

Traditional musical instruments.

Traditional musical instruments.





The season for wayang

9 09 2015

Public entertainment during the seventh month of the Chinese lunar calendar, while intended for the special visitors of the netherworld, would once have attracted a large audience across Singapore. The crowds at such events, typically a getai in more modern times, or a Chinese opera or puppet performance in the past, have dwindled over the years. Perhaps this is more the case this year with the political hustings coinciding with the celebration of the hungry ghosts festival. It still is nice to come across them as they make not just for a colourful spectacle, but also because they tell us that the traditions of our forefathers, though modified, are very much still alive.

A 7th month Hokkien Opera performance at the Balestier Road Goh Chor Tua Pek Kong Temple's free-standing stage - one of the last such stages left in Singapore.

A 7th month Hokkien Opera performance at the Balestier Road Goh Chor Tua Pek Kong Temple’s free-standing stage – one of the last such stages left in Singapore.

A getai performance at Woodlands.

A getai performance at Woodlands.

Front row seats at such events are reserved for the guests from the netherworld.

Front row seats at such events are reserved for the guests from the netherworld.

The crowd at the getai performance.

The crowd at the getai performance.

JeromeLim-1328

JeromeLim-1406

Another getai held in Sembawang,

Another getai held in Sembawang.

Which attracted a different kind of special guest.

Which attracted a different kind of special guest.

A performer at  the Sembawang getai.

A performer at the Sembawang getai.

And another.

And another.





The granite island alive

4 06 2015

Pulau Ubin, the granite island, comes alive for a few days around the full moon of the fourth month of the Chinese calendar, when the celebrations in honour of the Taoist deity Tua Pek Kong are held. The festivities, now still going on, offers an opportunity to have a glimpse into a Singapore we have discarded. The highlight for many is the Teochew opera performance, which is being held on five of the six evenings of the six day celebration, the last being this evening. The festival will end tomorrow, with a getai performance.


More information can be found in the following posts:


Photographs of Pulau Ubin taken during the full moon of the fourth month this year

JeromeLim-3320

JeromeLim-3265

JeromeLim-3324

JeromeLim-3249

JeromeLim-3426

JeromeLim-3176

JeromeLim-3220

JeromeLim-3273

JeromeLim-3371

JeromeLim-3386

JeromeLim-3397

JeromeLim-3411

JeromeLim-3466





The celebration returns to Pulau Ubin

26 05 2015

Every year around Vesak Day, Pulau Ubin comes alive as the Pulau Ubin Fo Shan Teng Tua Pek Kong Temple (乌敏岛佛山亭大伯公庙) holds a series of festivities to celebrate the Tua Pek Kong festival. It is one of two occasions during which Teochew opera and getai performances are staged and offers a rare opportunity to watch Teochew opera as one might have done in the old days, under the stars. This year’s festival will be celebrated from 31 May to 5 Jun 2015 with opera performances every evening, except on the last when a getai performance will be held. The main day of the festival is on 1 Jun. More information on the festival schedule is provided below.

Backstage at the wayang stage: a festive face of Ubin.

Backstage at the wayang stage during last year’s celebrations.

A brightly dressed dancer on stage - getai is often seen as kitsch and somewhat crude, but it does have a huge following in Singapore.

A brightly dressed dancer on stage during the last evening’s getai performance two festivals back.

The schedule for this year's Tua Pek Kong Festival.

The schedule for this year’s Tua Pek Kong Festival.

A quick look at the main events as translated by Victor Yue:

Sunday 31 May 2015 (4th Month 14th Day)
10 am: Invite Tua Pek Kong
1 pm: Prayer ritual starts
3 pm: First Taoist Ritual
7 pm: Second Taoist Ritual
7 pm: Sin Sin Yong Hua Teochew Opera performance starts
10 pm: Invite Jade Emperor

Monday 1 Jun 2015 (4th Month 15 Day) – also Vesak Day, a Public Holiday
10 am: Prayers starts
1 pm: Lion and Dragon Dances
2.30 pm: Distribution of Temple Offerings
3.30 pm: Send off Jade Emperor
7 pm: Sin Sin Yong Hua Teochew Opera performance starts
8 pm: Tua Ji Ya Pek (First and Second Grandpa deity from the nearby temple) visit

Tuesday 2 Jun 2015 (4th Month 16th Day)
7 pm: Sin Sin Yong Hua Teochew Opera performance starts

Wednesday 3 Jun 2015 (4th Month 17th Day)
7 pm: Sin Sin Yong Hua Teochew Opera performance starts

Thursday 4 Jun 2015 (4th Month 18th Day)
7 pm: Sin Sin Yong Hua Teochew Opera performance starts

Friday 5 Jun 2015 (4th Month 19th Day)
10 am: Teochew Opera Singing (From Sin Sin Yong Hua)
6.15 pm: Pulau Ubin Fo Shan Ting Da Bo Gong Night (Getai) with Dr Mohamad Maliki Bin Osman, Minister for Defence & National Development, Mayor for South East District, and MP for East Coast GRC as Guest of Honour
10.30 pm: Tua Pek Kong returns

Free Ferry Service
31 May  to 4 Jun 2015 from Changi Jetty (6.30 pm to 9 pm) and from Pulau Ubin Jetty (8 pm – 10 pm)
5 Jun 2015 from Changi Jetty (6.30pm to 10pm) and from Pulau Ubin Jetty: (6.30 pm – 10.30 pm)


More photographs from the main celebrations last year:

More backstage scenes.

More backstage scenes.

JeromeLim-1430

JeromeLim-1406

A view of the wayang stage during the evening's performance.

A view of the wayang stage during the evening’s performance.

The Teochew Opera performances is one of the draws of the festival.

The Teochew Opera performances is one of the draws of the festival.

JeromeLim-1583 JeromeLim-1546

JeromeLim-1533-2

JeromeLim-1517

The ritual sees the appearance of the Tua Ya Pek (大爷伯) or Bai Wuchang (白无常) and ...

The ritual sees the appearance of the Tua Ya Pek (大爷伯) or Bai Wuchang (白无常) and …

... the Li Ya Pek (二爷伯) or Hei Wuchang (黑无常). Collectively the pair - guardians of the Taoist interpretation of the hell or purgatory of afterlife, are known as the Tua Li Ya Pek (大二爷伯) or Heibai Wuchang (黑白无常).

… the Li Ya Pek (二爷伯) or Hei Wuchang (黑无常). Collectively the pair – guardians of the Taoist interpretation of the hell or purgatory of afterlife, are known as the Tua Li Ya Pek (大二爷伯) or Heibai Wuchang (黑白无常).

A dragon dance held during the celebrations.

A dragon dance held during the celebrations.

The three stars make an appearance.

The three stars make an appearance.

The opera troupe onstage paying respects to the deity.

The opera troupe onstage paying respects to the deity.

The Tua Pek Kong temple.

The Tua Pek Kong temple.

The temple during one of the rituals.

The temple during one of the rituals.

 








%d bloggers like this: