Singapore’s last traditional puppet stage maker?

Puppet shows once made appearances around Taoist temples scattered all across Singapore. Like the Chinese street opera and the more modern getai performances, they were usually put up for the pleasure of visiting Taoist deities on their earthly sojourns, or for hungry ghosts who as belief would have it, roam the earth when the gates of the underworld are opened during the Chinese seventh month. Puppet shows also found great appeal with the common, especially amongst the young ones. These days however, the distractions of the modern world hold sway and the appeal of tradition seems to have waned. Just a handful of troupes still perform around today leaving supporting craftsmen such as Mr Leong Fong Wah, whose lifetime’s work has been in painting and putting together puppet stages, a dying breed.

A typical Chinese puppet stage is really an assembly of pieces of plywood on which colourful decorations and backdrops are painted on one side and reinforced on the other. All it takes is a few weeks to add the decorative work before a stage can be put together. This quick turnaround time, the lack of a customer base, and the fact that a stage can be used and reused for as long as ten years, does mean that there is little in terms work in the area for the business that Mr Leong runs, Leong Shin Wah Art Studio. Having been started in the 1940s by Mr Leong’s father, whose name the business is identified with, the workshop must have been involved in putting together a countless number of stages. With nothing in way of puppet show stage orders in sight beyond an order that Mr Leong is currently in the process of fulfilling, this last stage that he is building may be one of the last, if not the last, traditional puppet show stages being made not just at Mr Leong’s workshop, but also in Singapore.

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A typical traditional puppet show stage set up:

A puppet stage set up at Telok Ayer Street.

The stage set up also hides puppeteers and musicians behind a backdrop and other decorated plywood panels.

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Chinese Puppetry in Singapore:

A lifelong passion pulling strings (Henghwa string puppet troupe)

The last performance of the Sin Sai Poh Hong puppet troupe (Teochew Rod Puppet Troupe)

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Pulau Ubin in the merry month of May

One of the places in Singapore in which the memories of old are still alive is Pulau Ubin. It is where many in Singapore now find an escape from the staid and maddeningly overcrowded world in which Singaporeans have been made to call home.

Pulau Ubin — at least pre-Covid — comes alive every May, when the Fo Shan Teng Tua Pek Kong Temple honours its main deity Tua Pek Kong, around the time of the Buddhist Vesak Day holiday (which has little to do with the local Taoist deity). The manner in which the festival is celebrated, harks back to the days of village life, with the Ubin’s rural settings certainly lending itself to providing the correct atmosphere.

No village temple festival would of course be complete without a Chinese opera performance. Held to entertain the visiting deity more than the crowd, these performances would in the past draw large crowds and be accompanied by a a variety of night-market-like stalls offering anything from food, desserts, drink, masks and toys, and the tikam-tikam man. While the stalls are missing in the modern-day interpretations of village festivals, Chinese opera performances and these days, getai, are still held at selected temples during their main festivals over the course of several days. Such is the case with the festival on Pulau Ubin, which is commemorated with as much gusto as would village festivals of the past, even if it involves a largely non-resident population. What does complete the picture on Pulau Ubin, is its permanent free-standing Chinese opera stage — just one of three left in Singapore — on which both Chinese opera and getai performances are held.

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Photographs taken during the Fo Shan Teng Tua Pek Kong Temple’s Tua Pek Kong festival in May 2014

Discovering the “China” in Singapore’s Chinatown

Unlike many other cities around the world where “Chinatowns” exist, a “Chinatown” in Singapore — where three in four of its population are ethnic Chinese — does seem rather odd.

The roots of the Chinese quarter do of course lie in Singapore’s very first urban plan, the so-called Jackson Plan of 1822, hatched at a time when the settlement was still very much in its infancy. That plan, placed the main settlement for migrants from China in the area where Chinatown is today also had a “Chuliah campong” for settlers from the Indian sub-continent adjacent to it. To the Chinese speaker, Chinatown had long been known as Tua Poh (大坡) or “the greater town”, or Ngau Che Shui or Gu Chia Chwee (牛车水) — a reference to bullock-drawn water carts carrying supplies of fresh water to the settlement in its early days. It is perhaps in recent times that the notion of the former settlement being Chinatown has taken root, and this seems rather ironically to have coincided with the quarter losing its original Chinese-ness through resettlement and redevelopment, and its subsequent association with the modern Chinese immigrant and the tourist crowd from modern day China.

The Town Plan of 1822.

These developments do in a way, mimic the evolution of the Singaporean Chinese identity — something that the “Not China Town” tour that has been put together by The Real Singapore Tours — seeks to examine. The tour, which I had the opportunity to attend a preview of, involved a long but leisurely walk through Singapore’s Chinatown. Together with the realisation of how widely spread Singapore’s so-called Chinese quarter is, the tour provides its participants through the stories told at various touch points and through songs, is a much deeper understanding of what the “China” in Singapore’s Chinatown is really all about.

Chinatown at the Crossroads – Cross Street was in the area where the “Chuliah Campong” was.

The tour, which can be forgiven for being too long due to the depth into which its guides expertly explore the evolving Chinese identity and for the refreshment stop — is certainly a must do — if the question of what shapes the Chinese Singaporean identity does bug you. Do look out for them at The Real Singapore Tours.

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Highlights of Not China Town

Guide Jamie Lee giving an overview of what Singapore’s Chinatown is all about.

Listening to the first song – before the continuation of the “dance” through Chinatown.

Why Pagoda Street?

Another of the guides, Mark Tan (who sings very well), explaining the politics in the simplification of the Chinese character “sheng” in taking the king (王) out and giving power to the ground (土). The simplification of Chinese characters was an effort initiated by the Peoples’ Republic of China in the mid 20th century.

Celebrating the recent addition of hawker culture in Singapore to UNESCO’s list of Intangible Cultural Heritage at the new age and very touristy hawker street on Smith Street?

A modern addition to Chinatown – around where the street of the dead was. The Buddha Tooth Relic Temple may have little to do with the collective memory the Chinese Singaporean may have of Chinatown, but it is an example of Tang architecture — the dynasty with which the Chinese immigrants of the past from Southern China identify with. Many descendants of the earlier Chinese immigrants to Singapore would have been identified as T’ng Lang, T’ng Nang or Tong Yan – 唐人- or Tang Ren in Mandarin or People of the Tang, rather than as Han Chinese.

Mark Loon – on the ma-jie and their vows of spinsterhood.

Of animistic practices and the natuk kong.

On the visit of Deng Xiaoping and the sinification of the Chinese in Singapore.

Clues that point to the migration from Amoy (E-m’ng or Xiamen).

A last song – at where it all began for many early immigrants from China.

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Getai night on Pulau Ubin

A large crowd, one not normally associated with Pulau Ubin on a Wednesday, turned up on the island last evening for the final night of the annual Tua Pek Kong festival. The last night, has in more recent times been marked with a getai (歌台) performance. Crude and somewhat kitsch, Getai (歌台) draws much more interest these days than the traditional street operas and puppet shows once used to provide the deities with a grand send-off.

This year’s getai, with forty dinner tables sold (as opposed to about twenty last year), seems to have attracted a much larger interest. This could be seen in the especially crowded village square (if I may call it that), where Ubin’s free-standing wayang stage – used by the Pulau Ubin Fo Shan Teng Tua Pek Kong Temple (乌敏岛佛山亭大伯公庙) to hold street opera and getai performancesis found.

The getai also saw a special guest, Dr Mohamad Maliki Osman. The Senior Minister of State, Ministry of Defence & Ministry of Foreign Affairs and Mayor, South East District also took to the stage, not to sing, but was able to impress the crowd nonetheless, with a few words in Mandarin and also in Hokkien.

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Photographs from the final night of the Tua Pek Kong Festival

A boat load of devotees heading to Pulau Ubin.

Lion dancers welcoming visitors.

A larger crowd than ones previously seen turned up to watch the Getai performance held to send the popular deity off.

The lower temple saw a steady stream of devotees making offerings.

Lighting joss sticks at the temple.

The wayang stage set for the evening’s performances.

Perfromers.

The silhouette of a dancer.

A special guest, Dr Mohamad Maliki Osman, Senior Minister of State, Ministry of Defence & Ministry of Foreign Affairs and Mayor, South East District. He didn’t sing but managed to wow the crowd with a few words of Hokkien.

Homeward bound.

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The full moon of the fourth month on Ubin

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.

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

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More information can be found in the following posts:

• Photographs from last year’s festival: The Granite Island alive
• Festivities in 2014: The festive face of Ubin
• Getai night at Ubin: Watching the stars under the stars
• The seventh month at Ubin: A dying tradition lives on under the light of the silvery moon

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Chinese New Year at Eng Hoon Street

The best lion dance, dragon dance and giant flag performance on the streets of Singapore during the Chinese New Year takes place every year on the morning of the second day in front of Bao Sheng Trading at Eng Hoon Street. Photographs from this year’s performance follow:

The granite island alive

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.

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More information can be found in the following posts:

• This year’s festival programme: The celebration returns to Pulau Ubin
• Last year’s festivities on the full moon: The festive face of Ubin
• Getai night at Ubin: Watching the stars under the stars
• The seventh month at Ubin: A dying tradition lives on under the light of the silvery moon

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

The celebration returns to Pulau Ubin

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.

• A post on the main festivities last year: The festive face of Ubin
• A post on the last evening’s festivities from two year’s back: Watching the stars under the stars

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

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.

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)

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More photographs from the main celebrations last year:

More backstage scenes.

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

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

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).

A dragon dance held during the celebrations.

The three stars make an appearance.

The opera troupe onstage paying respects to the deity.

The Tua Pek Kong temple.

The temple during one of the rituals.

 

The festive face of Ubin

It is during two Taoist festivals celebrated in a big way by the Pulau Ubin Fo Shan Teng Tua Pek Kong Temple (乌敏岛佛山亭大伯公庙), the Tua Pek Kong festival celebrated around Vesak Day in May, and the Hungry Ghosts Festival during the seventh month of the Chinese lunar calendar, that the somewhat sleepy island takes on a festive air.

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

The Tua Pek Kong temple.

The island, particularly during the Tua Pek Kong festival, is overrun by thousands of visitors who range from the many devotees who go over to participate in the rituals at the temple and the curious who are there to soak up the atmosphere of what might once have been a common scene on the main island of Singapore; to the hundreds who would head there festival or not, to seek an escape from the madness of the concrete jungle.

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

A dragon dance held during the celebrations.

A modern interpretation of the three stars make an appearance.

It is more than just the colourful religious rituals that would be of interest to the curious. It is during the two festivals that we also see the use of the permanent Chinese opera stage – one of possibly two that are still left in Singapore. It has long been a tradition for Chinese temples to hold a ‘wayang‘, as the various forms of Chinese opera is commonly referred to in Singapore and Malaysia, in conjunction with festivities to entertain the deities and in the case of the seventh month, the spirits who return and many permanent stages were a feature of temples in villages across Singapore.

The opera troupe onstage paying respects to the deity.

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

While interest in wayangs, which had a following among the masses, has waned in the wake of the introduction of more modern forms of entertainment, the art is being kept alive at the Ubin temple and by its Teochew opera troupe on which the spotlight does shine during the two big festivals that the temple celebrates.

More backstage scenes.

At the time of writing, this year’s Tua Pek Kong festival (the photographs of which are used in this post) is still being celebrated. The celebrations will draw to a close on Saturday (17 May) with a getai (歌台) after which the temple sends Tua Pek Kong (Da Bo Gong or 大伯公) off. On the evidence of last year’s celebrations, the getai does also draw a sizeable crowd (see a post on last year’s Getai at Watching the stars under the stars) and for the experience of watching the stars (of the local getai circuit), under the stars, it certainly is well worth going over to Ubin on the final evening of the festival.

The temple during one of the rituals.

The ritual sees the appearance of the Camel cigarette smoking 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).

Free boat rides are provided through the period of the festival from 6.30 to 9.00 pm each evening from Changi Jetty (and from 8.30 to 10 pm on the return trip). More information on the festival’s programme can be found at Peiyan’s blog: 12 May – 17 May 2014: Pulau Ubin Celebrates the Tua Pek Kong’s birthday.

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[Photos of another ritual, the Pingan Bridge (平安桥) crossing ceremony, done in the belief that it would cleanse the participant of negative energy]

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Pulau Ubin Tua Pek Kong festival Programme for 17 May 2014:

1000: Teochew Opera Performance
1845: Pulau Ubin Fo Shan Ting Da Bo Gong Temple’s Night! + Getai Performance
2230: Departure of Da Bo Gong ritual

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Some previous posts on festivities at the Pulau Ubin Tua Pek Kong Temple and the island:

• Watching the stars under the stars
• A dying tradition lives under the light of the silvery moon
• A window into a Singapore we have discarded

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