The fire of the dragon of Sar Kong was seen again last evening, making a reappearance on the streets around its lair at the Mun San Fook Tuck Chee temple. The temple introduced the fire dragon dance in the 1980s, importing a tradition from Tai Hang Village in Hong Kong that has its origins in 1880. Mun San Fook Tuck Chee’s dance of the fire dragon, which usually makes an appearance once every three years, now seems a significant cultural event in Singapore and draws crowds of observers as well as many photographers.
The temple, Mun San Fook Tuck Chee (萬山福德祠), is thought to have its origins in the 1860s, serving a community of Cantonese and Hakka migrant workers employed by the area’s brick kilns, sawmills and sago making factories. The temple moved twice and came to its present site in 1901.
The dance of the fire dragon that is associated with the temple, although long a practice in its place of origin in Hong Kong, only came to the temple in the 1980s. The dragon used for the dance is the result of a painstaking process that involves the making of a core using rattan and the plaiting of straw over three months to make the dragon’s body. Lit joss sticks are placed on the body prior to the dance and traditionally, the dragon would be left to burn to allow it to ascend to the heavens.
More information on the temple, its origins and its practices can be found in the following posts:
With a greater proportion of folks in Chinatown preoccupied its dressing-up for the Chinese New Year on Sunday, a deeply-rooted Singaporean tradition that took place in the same neighbourhood, “Chetty Pusam”, seemed to have gone on almost unnoticed.
Involving the Chettiar community, “Chetty Pusam” is held as a prelude to the Hindu festival of Thaipusam. It sees an especially colourful procession of Chettiar kavidi bearers who carry the burden from the Sri Layan Sithi Vinayagar Temple on Keong Saik Road through some streets of Chinatown to the Sri Mariamman Temple and then the Central Business District before ending at the Sri Thendayuthapani Temple on Tank Road.
The procession coincides with the return leg of the Silver Chariot‘s journey. The chariot, bears Lord Murugan or Sri Thendayuthapani (in whose honour the festival of Thaipusam is held) to visit his brother Sri Vinayagar (or Ganesh) in the early morning of the eve of Thaipusam and makes its return in the same evening.
The southern isles of Singapore are steeped in myths, legends and traditions. While most seem to lie buried in the sands that have expanded them, one that lives on is the pilgrimage to Pulau Tembakul – Kusu Island – that some accounts have as going back over two centuries to 1813.
Kusu during a pilgrimage season of the past – crossing the causeway at low tide. (photo: National Museum of Singapore on Facebook).
The annual event draws a steady stream of Taoist devotees. Although the numbers may have fallen from the highs of the 1960s and 1970s, thousands still make the short passage by sea every ninth month of the Chinese lunar calendar (which began on 9 October this year) to seek favour and blessings at the island’s holy sites. The sites are a temple dedicated to the popular Taoist deity Tua Pek Kong, and three keramat-keramat, which in this case are the supposed graves of (Muslim) holy persons who are venerated. This practice has its roots in Sufism and is discouraged by mainstream Islam and has over the years found a following amongst the Chinese.
A devotee making her way to Kusu in 1971 (source: The Aged In Singapore: Veneration Collides With The 20th Century, Nada Skerly Arnold, 1971).
Two of the island’s three keramat-keramat (found at the top of 152 steps).
Perhaps the most popular of the island’s legends is one tied very much to the name Kusu. The island, which in its pre-reclamation days actually resembled a tortoise at high tide; its head, the outcrop on which the temple was built, and its body, the mound to which the head was linked by a natural causeway at low tide at the top of which the keramat-keramat are found. This legend, which also provides a basis for the pilgrimage, has it that a tortoise (or more correctly a turtle) had rescued two fishermen from drowning by turning itself into the island. There are several more legends that provide an explanation for the origins of the pilgrimage, the keramat-keramat and the personalities that they are associated with – all of which are unverified (see: Kusu Island – on Infopedia).
An old postcard showing Kusu Island before reclamation.
The Tua Pek Kong temple on the ‘head’ of the tortoise (source: The Aged In Singapore: Veneration Collides With The 20th Century, Nada Skerly Arnold, 1971).
The head of the tortoise (photo: Steffen Röhner on Panoramio).
In photographs: the start of the colourful procession of Chettiar kavidis from the Sri Layan Sithi Vinayagar Temple on Keong Saik Road to the Sri Thendayuthapani Temple at Tank Road. The procession, along with a Silver Chariot procession, is held every year as part of Chetty Pusam on the eve of the Hindu festival of Thaipusam.
A curious sight found at one of Telok Ayer Street’s two beautifully restored mid-19th century Chinese pagodas, the Chung-Wen pagoda or Chong-Wen Ge (崇文阁), are eight figures that are seen propping up the pagoda’stop tier. Referred to rather disparagingly in colloquial Hokkien as “dim-witted foreigners”, these figures carved from wood have no structural function and are purely decorative features. Similar figures, which are also sometimes made of clay, are apparently quite commonly used in Minnan architecture. The practice is thought to have their origins in the Tang Dynasty, when they were said to have been used to commemorate the efforts of foreign labourers who were often involved in building projects.
The Chung Wen Pagoda.
Support beams for the uppermost tier of the pagoda, which feature carvings of non-Chinese men depicted as lending support to the structure.
A night-time view of the pagoda.
The eight wooden cravings are just some of an amazing array of decorative work found in the incredibly beautiful pagoda. Built between 1849 and 1852, the pagoda, besides it features that define a strong Chinese flavour, also has features that speak of the influences present in the 18th century Singapore such as a wrought iron sprial staircase that was put in during a restoration effort in 1880 and encaustic floor tiles, which can also be found in other Chinese buildings in the country.
Decorative details.
The second tier.
The reverse view.
The wrought iron staircase.
Linked with the Hokkien community, whose spiritual centre was at the next door Thian Hock Keng temple, the Chung-Wen pagoda apparently also had the support of other groups within the wider Chinese community. This is evident in one of three steles found on the site. The stele, which commemorates the pagoda’s construction, sees the names of Teochew leader Seah Eu Chin as well as that of a Hakka, Liew Lok Teck, alongside names associated such as Tan Kim Seng, Ang Choon Seng, Wee Chong Sun and Cheang Sam Teo from the Hokkien community.
The stele commemorating its construction.
A view of the entrance doorway to the Chong-wen Ge from the upper tier of the pagoda.
We also see on the stele that a shrine dedicated to Zitong Dijun (梓潼帝君) was placed on the pagoda’s second tier. Zitong Dijun, also known as Wenchang (文昌), is considered to be the Chinese god of culture and literature, and is a patron deity of scholars. This is a clear indication of the Chung-Wen pagoda’s intended purpose as a place given to promoting learning, although not all experts agree on the manner in which it was done. What is clear however, is that the Chong-Wen Ge was where the written word was venerated. This was carried out through the practice of the burning of papers on which words have been written, in honour of the inventor of Chinese characters, Cangjie (倉頡). The installation of a small paper burning pagoda on the site for this purpose is also recorded on the stele.
Old world gods now surrounded by the gods of the new world – a view from the pagoda across to the Thain Hock Keng and the former Keng Teck Whay and the financial centre of the city beyond it.
The building which housed the Chong Hock School.
The practice of burning the written word ended in 1910 when the trustees of the Chong-Wen Ge handed control of it over to the Thian Hock Keng temple, although it can be said that the written word was then celebrated in a different manner with the founding of the Chong Hock School for girls in 1915. The school operated in the simple but lovely two storey building adjacent to the pagoda and only moved out in 1985 as Chongfu School. The school’s building have seen several uses since and now houses the Singapore Musical Box Museum on its upper level. An encaustic tile shop and a Peranakan café is also now found on its ground level.
A view of the Chong Hock School building from the pagoda.
The Chong-Wen Ge, which translates as the Institute for the Veneration of Literature, was gazetted as a National Monument in 1973 with the Thian Hock Keng. Its wonderfully restored state is the result of its last major restoration effort which was undertaken between 2001-2003. More information on it and other conserved former school buildings can be found in a URA Heritage Schools Pamphlet.
Decorative detail on a door on the pagoda’s second level.
The fire dragon of Sar Kong came to life last night, making its way in a dizzying dance around the area of its lair at the Mun San Fook Tuck Chee temple.
Last night’s dance of the fire dragon.
The dance of the dragon has its origins in Guangdong, from where many came from to work in the area’s brick kilns in the mid-1800s. The dance, rarely seen in a Singapore in which tradition has become an inconvenience, came at the close of the temple’s 150th Anniversary celebrations. The celebrations, held over a three day period, also saw a book on the temple’s history being launched. An exhibition on the history of the area is also being held in conjunction with this, which will run until 14 September 2016.
A book on the temple and the community’s history, A Kampong and its Temple, was launched.
Minister, Prime Minister’s Office, Chan Chun Sing – a former resident of the area, being shown a model of the Sar Kong village area at the exhibition.
The parade of the straw dragon through the streets, is also thought to help dissipate anger caused by the disturbance of the land in the area of the temple being felt by the temple’s deities. The area, is once again in the midst of change – with a huge condominium development, Urban Oasis, just next door. The site of the development, incidentally, is linked to the current outbreak of the mosquito borne Zika virus in Singapore.
Lit joss sticks being placed on the straw dragon’s body prior to the dance.
There may perhaps be anger felt at the uncertainty for the future that temple itself faces. The land on which it sits on has long since been acquired for redevelopment by the Housing and Development Board (HDB) and the temple operates on it only through a Temporary Occupation License. The parcel of land it sits on is one shared with HDB flats that were taken back by the HDB under the Selective En-bloc Redevelopment Scheme (SERS) in the second half of the 2000s and it is left to be seen if the temple will be allowed to continue on the site when the area is eventually redeveloped.
The dragon offering respects to the altar prior to its dance.
The temple, Mun San Fook Tuck Chee (萬山福德祠), is thought to have its origins in the 1860s, serving a community of Cantonese and Hakka migrant workers employed by the area’s brick kilns, sawmills and sago making factories. The temple moved twice and came to its present site in 1901.
The dance of the fire dragon that is associated with the temple, although long a practice in its place of origin, only came to the temple in the 1980s. The dragon used for the dance is the result of a painstaking process that involves the making of a core using rattan and the plaiting of straw over three months to make the dragon’s body. Lit joss sticks are placed on the body prior to the dance and traditionally, the dragon would be left to burn to allow it to ascend to the heavens.
More information on the temple, its origins and its practices can be found in the following posts:
The fire dragon of Sar Kong, in a rare reprise of the its smoking performance earlier this year, will come alive once again this September on the occasion of the 150th anniversary celebrations of the temple its lair is found in, the Mun San Fook Tuck Chee (萬山福德祠) . The temple has its origins in Sar Kong (沙崗) or “Sand Ridge, where a community of Cantonese and Hakka coolies had settled in.
The practice of parading the burning dragon has its origins in Guangdong – the origins of many in the community. Made of straw that has been imported from China, such a dragon would previously have been constructed for the feast day of the temple’s principal deity and sent in flames to the heavens. In more recent times, such straw dragons would be paraded on an average of once every three years. This particular dragon, which made for a more recent Chingay Parade, is not burnt but set alight only by the placement of joss sticks on its body.
More information on the practice, as well as the historic setting for the village and the temple, can be found in the temple’s heritage room. More on the temple and its history can also be found at the post: On Borrowed Time: Mun San Fook Tuck Chee.
Schedule for the Mun San Fook Tuck Chee 150th Anniversary Celebrations
A number of events held in conjunction with the 150th anniversary of the Mun San Fook Tuck Chee: Taoist priests from Ching Chung Koon in HK invited here to conduct rituals over 3 days, a seminar on Dabogong (Tua Pek Kong), a heritage exhibition, a book launch, and the finale – the one and only fire dragon dance in Singapore.
9 Sep 2016 (Fri)
0900-1145 Preparing ritual space
1400-1600 Rituals
1800-1900 Opening of heritage exhibition
1900-2100 Rituals
10 Sep 2016 (Sat)
0900-1145 Rituals
0930-1200 Seminar and discussion on Dabogong
1400-1600 Rituals
1900-2130 Rituals
2000-2100 Crossing the bridge for devotees
11 Sep 2016 (Sun)
0900-1145 Rituals
1000 Lion dance to welcome foreign visitors
1045-1145 Paying of respects by foreign visitors
1100-1400 Mid-autumn event for respecting elders in the community
1400-1600 Rituals
1600-1730 Salvation rituals
1930 Fire dragon performance / Book launch / Exchange of souvenirs with foreign guests
Photographs from the parade of the Fire Dragon in March 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.
Chinese New Year, celebrated over a fifteen day period that culminates with Chap Goh Mei or Yuanxiao Jie (元宵节), is an occasion for much joy and feasting for the Chinese community here in Singapore. It is also an occasion when the many sub-cultural practices brought in by the diverse group of early Chinese immigrants are brought to the surface. One such observation is that of the Heavenly Jade Emperor’s birthday. Commemorated on the ninth day of the Chinese New Year, it is celebrated by members of the Hokkien community.
The Thian Hock Keng at Telok Ayer Street, Singapore’s oldest Hokkien Taoist temple.
For the community, who were among the earliest group of immigrants to come ashore in British Singapore, the observation is of great importance. Referred to as Pai Tee Kong in Hokkien (or Bai Tian Gong, 拜天公 in Mandarin), it is sometimes also called the “Hokkien New Year”.
Pai Tee Kong prayers held at the former Keng Teck Whay.
As to how the community came to regard the birthday as the most important of the fifteen days, there are several versions of the story (one of which is found here). The many variations do have one thing in common – that members of the community were able to elude would be attackers by taking refuge in a field of sugarcane and praying to the Jade Emperor for deliverance.
Stalks of sugarcane going on sale on the seventh day. Legend has it that a field of sugarcane offered Hokkiens fleeing from attackers a place of refuge.
Where the story differs is in when it took place and who the Hokkiens were running from, ranging from the incident taking place during the time of the Song or Mongol dynasties with Hokkien (or Fujian) province under attack by the armies loyal to the ruling dynasty, to it taking place during the days of the Ming Dynasty and the Hokkiens being pursued by bandits or pirates. Whatever it was, it was on the ninth day – coincidentally the birthday of the Heavenly Jade Emperor – Taoism’s most supreme deity, that the Hokkiens were able to emerge from their hiding place and celebrate the new year.
Preparations to greet the Heavenly Jade Emperor begin in earnest on the eve of the ninth day. Stalks of sugarcane are purchased by Hokkien families who place them by the doors of their homes or on either side of a table of offerings. The offerings include items such as pineapples, sweets, roast pigs and huat kueh (steamed “prosperity cakes” often used as prayer offerings), all of which also have a special significance.
A table of offerings together with two stalks of sugarcane, placed at the front of a business. Similar tables are also seen outside the homes of Hokkien Taoist families.
Temples are probably where the celebrations are at their most colourful. At the Thian Hock Keng, Singapore’s oldest Hokkien temple and the spiritual home of Hokkien culture in Singapore along Telok Ayer Street, a temporary altar to the Jade Emperor is erected to which prayers and offerings made. It is however just next door at the former home of a Hokkien Peranakan mutual-aid society, the Keng Teck Whay, that one of the more elaborate ceremonies is held.
The temporary altar to the Jade Emperor at the Thian Hock Keng.
The crowd at the Thian Hock Keng on the eighth night.
The beautifully crafted 19th century Keng Teck Whay, long in a state of disrepair, has only very recently been restored by the Singapore Taoist Mission. The mission now runs the National Monument as the Singapore Yu Huang Gong temple and maintains many of the practices of the Keng Teck Whay. Dedicated to the Heavenly Jade Emperor, the temple’s Pai Tee Kong, all of which was conducted in theHokkien vernacular,is especially elaborate and a wonderful reminder that Singapore, in all its modernity, is still where many traditions have not lost their place.
The ceremony at the former Keng Teck Whay …
… which was taking place at the same time as a getai performance for the Thain Hock Keng across the street. Street opera and getai performances are often held at temples to provide entertainment to the deities during Taoist festivals.
Colouring the full moon during the Tamil month of Thai, which fell yesterday, is the Hindu festival of Thaipusam.
The festival is celebrated with much fervour by the southern Indian communities of Singapore and in the Peninsula and is one of the last religious festivals in Singapore that brings crowds, colour, and what seems very much in evidence these days, a massive police presence and snap happy locals and tourists, to the streets.
More on the festival, including photographs taken at previous Thaipusam celebrations, can be found in the following posts:
Photographs from this year’s Hindu festival of Thaipusam. The festival, which is commemorated by the southern Indian community in both Malaysia and Singapore is celebrated with much zeal and passion bringing much life and colour to the streets of a Singapore. In Singapore, the festival involves a procession of kavadi bearing devotees down a 4 kilometre route from the Sri Srinivasa Perumal Temple in Serangoon Road to the Sri Thendayuthapani Temple (Chettiars’ Temple) at Tank Road, which starts at midnight on Thaipusam and continues through much of the day and into the late evening. More on the festival and photographs taken at previous Thaipusam celebrations, can be found in several posts I have previously put up:
The Sikh holy day of Guru Nanak Jayanti commemorating the birth anniversary of the first Guru and the founder of Sikhism, Guru Nanak Dev Ji, is celebrated by the Sikh community during the full moon in the month of Kartik. This year’s celebration took place on 17 November and I had the opportunity to observe the festivities at the Sikh temple in Yishun, the Gurdwara Sahib Yishun.
The commemoration of festivities at gurdwaras or Sikh temples often sees the appearance of sword wielding armed guards who represent the Five Beloved Ones.
The festival, is said to be one of the most sacred in the Sikh religion. As with all festivals that is celebrated in the Sikh religion, it is one that is involves the entire community, involving prayers offered in the morning, the singing of hymns and the sharing of a meal at the gurdwara or Sikh temple.
The Darbar Sahib or prayer hall.
The highlight of yesterday’s celebration at the Gurdwara Sahib Yishun, was the raising of a new flag. The flag, the sacred Sikh religious flag, known as the Nishan Sahib, is traditionally flown on a tall flagpole outside the gurdwara. This serves to identify the location of the gurdwara as it is flown in such a manner that it can be seen from afar.
Inside the prayer hall or Darbar Sahib.
Sweet pudding is distributed after prayers.
The five beloved ones at the flagpole.
It was with much ceremony that the old flag is lowered and the new flag raised. With the community gathered around, together with five saffron robed sword wielding guards (who represent the Panj Pyaras or the five beloved ones) prominent at the base of the flagpole (and throughout the religious part of the observances), the flagpole is lowered so the the old flag can be removed and the the flagpole prepared to receive the new sacred flag by washing with water and milk.
The lowering of the flagpole.
Washing the flagpole.
All hands to the flagpole.
Milk is also used in the washing.
A new flag is attached.
With the flagpole washed, the new flag is then attached to it and its is with much jubilation that the flagpole and the flag is then raised. Following the raising of the pole, members of the community stream around its base, placing flowers and offering prayers. The members of the community then head back up to the Darbar Sahib or prayer hall for the singing of hymns, with the morning’s festivities culminating in the sharing of a community meal – a practice that is central to all Sikh celebrations.
Raising of the new flag.
The new flag is raised.
Singing of hymns.
About the Gurdwara Sahib Yishun:
The Gurdwara Sahib Yishun which opened on 27 August 1995 traces its origins to two gurdwaras located in Singapore north which merged when the land on which they stood was acquired for redevelopment. The two were the Gurdwara Sahib Guru Khalsa Sabha Sembawang (Sembawang Sikh Temple) and the Gurdwara Sahib Jalan Kayu, both of which are connected with the establishment of bases by the British military in the 1930s.
The Sembawang Sikh Temple had it origins in the British Naval Base, being set up in 1936 in the settlement outside the base which later became known as Chong Pang Village to serve the Sikh community involved in the construction of the base, and later workers in the base as well as Sikh members of Naval Base Police (who has their barracks at View Road).
The Gurdwara Sahib Jalan Kayu, traces its origins to the Sikh community which came to the area to serve in the RAF Seletar Police Force who set up a temple in their barracks in the 1930s. The Gurdwara Sahib Jalan Kayu itself was set up in the village just outside the air base after the war in 1947 when the Police Force was disbanded.
Those familiar with what has come to be referred to as the Novena area of Singapore would probably know of an event, the Novena Procession in honour of Our Mother of Perpetual Help, once a year which sees crowds filling the two terraces used as car parking space in front of Novena Church. The event, held every first Sunday in September, is one which through much of its history, has also brought much colour to the area with beautiful floral decorations being put up on the church’s rather well known façade and on the two retaining walls flanking the church.
Decorations during the annual procession in 1987.
This year’s event which was held on 1 September 2013, which attracted a crowd of some 10,000, was one which also celebrated its 60th anniversary in Singapore and is the 61st edition of a tradition which was started by Fr. William Dowling in 1953. From the inaugural procession held on 21 June 1953, the annual event has attracted huge crowds – there have been occasions when crowds spilled onto the slopes leading down to Thomson Road and even the sidewalks on both sides of the busy street. The significance of the occasion also saw the Archbishop of Singapore, The Most Rev Msgr William Goh; the Superior General of the Redemptorists Fr. Michael Brehl; and Fr Patrick Massang , the Vice-Provincial of Singapore/Malaysia in attendance with Fr. Brehl giving the sermon.
Decorations at this year’s procession.
Despite the treat of a storm, crowds gathered well in advance with blue skies seen just before the start.
An image of Our Lady of Perpetual Help being carried during the procession.
The Most Rev Msgr William Goh, the Archbishop of Singapore.
The procession which for many in the crowd, including for one man who has attended every procession since 1953, is a means to thank Mary, “Our Lady of Perpetual Help” for the many intercessions made and would have involved nine weeks of devotions in the lead-up to it. The practice of devotions to Our Lady of Perpetual Help is one that is popular with many followers and non-followers of the Catholic faith in Singapore and is one which sees the devotional sessions held every Saturday at the church, packed through the day. The devotional session is called a ‘Novena’ from the Latin word ‘novem‘ for nine as it does involve prayers made over nine consecutive occasions and is what has given its name not only to the church (which properly is the Church of St. Alphonsus), but also to the area and to the MRT station which now serves the area. The practice is one that is promoted by the religious community which runs the church, the Redemptorists, who traced their history in Singapore back to 1935.
The Archbishop with the image of Our Lady.
Fr. Michael Brehl delivering the sermon.
L-R: Fr. Simon Tan, Rector of St. Alphonsus; Fr. Patrick Massang, Vice-Provincial of Singapore and Malaysia; and Archbishop William Goh.
The crown after the blessing.
Archbishop William Goh crowing the image.
The practice of putting up floral decorations on the church’s front – there have been some very elaborate and beautiful ones put up in the past, goes back to 1959, when Redemptorist Brother Casimir Godebye, came up with the idea, with many in the congregation donating flowers for the effort. The decorations have of late, including this year’s, have become a lot simpler in form compared to the decorations of that I have seen in the 1970s, 1980s and 1990s – I did dig up some photographs of the one put up during the procession that was put up in celebration that coincided with the Marian Year in 1987 which does show how beautiful the sight of the decorations – particularly when illuminated at night, could be.
More photographs from 1987
This year’s celebration will also be one of the last that will see it celebrated as has been for the last 60 years in front of the old church – expansion work planned for the church which will see a new church building built next to the old (which has conservation status), is slated to be carried out after next year’s procession. Estimated to cost some S$45 million, the fund raising efforts have so far raised just above half of the amount necessary – work will commence once 70% of the estimated costs have been raised.
More photographs from this year’s procession
Archbishop William Goh addressing the crowd.
Fr. Simon Tan speaking.
A video made for the 60th Anniversary looking back at the history of the Procession
Together with 9 other bloggers and thanks to Tigerair Philippines and the Philippine Department of Tourism, I found myself on a dream trip to Boracay in July 2013. Read about the fantastic experience I had at Boracay Island Escapade or on my blog.
Courtesy of the Hong Kong Tourism Board (HKTB), I had the opportunity to have a 4 day adventure in Hong Kong with 9 other bloggers. To read our collective Hong Kong Travel Blog entries, please click on the icon below:
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The Long and Winding Road 