Welcoming the stars of the Big Dipper

30 09 2016

The coming of the Chinese ninth month brings two widely celebrated Taoist celebrations to Singapore, both of which  have a connection with water. One, the pilgrimage to the island of Kusu, is held over an entire month. This sees thousands of pilgrims flocking to the island, where a Tua Pek Kong temple and several hill top shrines are located. The other celebration, held over the first nine days of the month, is the Nine Emperor Gods Festival or Kew Ong Yah or Jiu Wang Ye (九王爷).

Devotees from the Kim San Temple at East Coast Beach.

Devotees from the Kim San Temple at East Coast Beach.

The Nine Emperor Gods festival is especially interesting. The celebration proper begins with an invitation to the gods – nine stars of the Big Dipper, to descend to earth for an annual sojourn. The often very elaborate invitation ceremony is  traditionally held on the eve of the 1st day of the month. Taking place by the sea or a river, it involves the carriage of the gods on a sedan or a palanquin that is always violently rocked as a sign of a divine presence.

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This year sees the invitation spread out over several days, with a few being held on the eve itself, which falls on Friday 30 September. One that I managed to catch over at East Coast Park was that of the Kim San temple from Jalan Ulu Siglap on 29 September, the photographs of which accompany this post. The festival ends with an equally grand send off, with the gods ascending to the heavens on a burning boat. More on this and the festivalcan be found in a previous post: The Burning Boat.

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Getai night on Pulau Ubin

26 05 2016

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.


Photographs from the final night of the Tua Pek Kong Festival

A boat load of devotees heading to Pulau Ubin.

A boat load of devotees heading to Pulau Ubin.

Lion dancers welcoming visitors.

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.

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.

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

Lighting joss sticks at the temple.

Lighting joss sticks at the temple.

The wayang stage set for the evening's performances.

The wayang stage set for the evening’s performances.

A performer and a dancer.

Perfromers.

The silhouette of a dancer.

The silhouette of a dancer.

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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.

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.

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Homeward bound.

Homeward bound.






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.

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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:


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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.

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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.

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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

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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.

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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.

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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.

 





The burning boat

14 10 2014

One evening a year, a burning boat lights up the dark and forgotten shores of Kampong Wak Hassan. The fire burns quickly, its flames completely consuming the boat ‘s paper shell and its wooden frame in a matter of minutes, sending nine divine beings on a journey to their celestial abodes. The journey brings the beings’ annual nine-day sojourn into the human world to a close and is one that follows a ritual that brings much colour to the shores of Singapore.

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It isn’t only at Kampong Wak Hassan that we see this send-off in Singapore, it is also seen at several waterfront locations across the island. The boat burning act comes at the end of the Kew Ong Yah or Jiu Wang Ye (九王爷) or the Nine Emperor Gods festival, a festival that commemorates the visit of the nine stellar gods – the nine stars of the Big Dipper (seven visible and two invisible). The festival begins with the gods being invited to earth and ends with their journey home on the ninth day.

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The Taoist festival is celebrated with much fervour by the devotees of the Nine Emperor Gods, especially so in southern Chinese immigrant communities in several parts of Thailand and Malaysia. Devotees observe a strict vegetarian diet throughout the festival, which falls on the first nine days of the ninth month of the Chinese lunar calendar, starting on the festival’s eve.  It would once have been common during the festival to observe mediums, many sporting piercings through various parts of the face and on the body, going into a trance. What I especially recall from my younger days was the sight of mediums swords in hand performing acts of self-flagellation, as well as hearing the sounds of cracking whips, all of which over the years seem to have become less common.

A medium sporting a peircing – seen in 1979 (source: http://www.nas.gov.sg/archivesonline).

More information on the festival itself is to be found in a Singapore Infopedia article. The article identifies twelve temples in Singapore at which the festival is observed, one of which is the Tou Mu Kung temple at Upper Serangoon Road. Thought to be the first in Singapore at which the festival was celebrated, the temple’s festival observance culminates these days in a send-off for the gods at Pulau Punggol Timor, a man-made island off the much altered Seletar coastline that is accompanied by much pomp and ceremony.

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The ceremony at Wak Hassan, is that celebrated by the Kew Ong Yah temple, which has its origins in Chong Pang Village – it was originally located just stone’s throw away from the landmark Sultan Theatre. Now housed within the Chong Pang Combined temple in Yishun, the temple also commemorates the occasion with much colour, sending the gods off at the seawall of what was a former village by the sea. It was the temple’s ceremony that I found myself at on the evening of 2nd October, the the ninth day of the ninth month this year.

The crowd at Kampong Wak Hassan.

The crowd at Kampong Wak Hassan.

There was already much anticipation in the air when I arrived at 9 pm, more than an hour before the procession was to arrive. A small crowd, made up of many extended families, had already gathered and the chatter included the excited voices of the many children in the crowd. While there was a hint of a sea breeze, it was a sticky evening and many sought relief from the strategically positioned ice-cream vendor and the ice-cream wielding crowd brought an almost festive like atmosphere that is not often seen in the area.

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The anticipation seemed to grow with the passing minutes. A commotion announced the arrival of the two paper boats that were to be used in the ritual. The first, with the head of a dragon, was one that was to be set alight on the beach in which offerings were to be placed. The second, was to carry the gods out to sea and set alight – the flames transporting the gods to the heavens. The presence of the boats, which were moved down to the beach, also provided the signal that arrival of the of the procession of the gods and their paraphernalia was imminent, prompting a frenzy of joss stick lighting among the devotees in the crowd.

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A thunder of drums heralded the arrival of the gods. Representations of the nine gods, masked men dressed in an almost gaudy fashion, circled the roundabout at the end of Sembawang Road in an unsteady dance before the procession moved down to the seawall.  A violently swaying sedan chair brought in the sacred urn. The urn is where the spirits of the gods are carried and the chair is swung from side to side by its bearers as a sign the divine presence. Among those making their way down to the seawall with the procession was Mr K Shanmugam, the Minister for Foreign Affairs and Minister for Law and an MP for Nee Soon GRC, who takes part regularly in the Kew Ong Yah temple’s Nine Emperor Gods festival celebrations.

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It was close to midnight when a semi-melodious chant in Hokkien rose above the gentle sounds of the waves of the nearby sea – the chants prayers sung, almost, by a Taoist priest. Once the prayers were completed, it was time for the party of temple officials and the Minister to wet launch the boat carrying the gods, setting it alight in the process, after which attention was turned to the second boat. Fanned by the strengthening sea breeze, the flames seemed in both cases to leap off the burning boat, offering onlookers such as myself, quite a sight to behold. It was past midnight when it was all over, and as quickly as the fire consumed the boats, the crowd dispersed.

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Together with the accompanying ceremony, the fiery end makes the send-off ceremony one of more colourful religious rituals that is seen today in Singapore. The setting for the send-off by the sea provides a connection to who we are and to where we came from; the sea being a naturally where we might, in the past, have sought a connection with the beliefs of our forefathers, many whom arrived here from the coastal communities of Southeast Asia, India and China. Now one of the few religious rituals celebrated by the sea that still is quite visible, the festival serves to connect us with a shore we are very quickly losing sight of. The shore that made us who we were is today a shore that has turned us into who we are not.

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The festive face of Ubin

15 05 2014

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.

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

The Tua Pek Kong temple.

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.

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

A dragon dance held during the celebrations.

A dragon dance held during the celebrations.

The three stars make an appearance.

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.

The opera troupe onstage paying respects to the deity.

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

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.

More backstage scenes.

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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 temple during one of the rituals.

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 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).

… 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).

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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.


[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


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


 

 





Watching the stars under the stars

29 05 2013

The last place in Singapore to soak in the atmosphere of the festivities which accompany a religious festival in a setting most of us may not seen for a quarter of a century is Pulau Ubin, the last island off Singapore (save for Sentosa) which has a community of residents. It is in the remnants of a village close to the island’s jetty where a Chinese Taoist temple, the Tua Pek Kong temple (Pulau Ubin Fo Shan Ting Da Bo Gong Temple or 乌敏岛佛山亭大伯公庙) dedicated to the Earth Deity 土地公 (Tu Di Gong in Mandarin) who is also commonly referred to in Singapore as 大伯公 – Tua Pek Kong in Hokkien or Da Bo Gong in Mandarin, is found. It setting is very much one that is reminiscent of many of the rural Chinese villages which were common on the main island of Singapore up until the 1980s, with a village temple at its centre with a permanent Chinese Opera (referred to locally as “wayang”) stage often located across a clearing from it.

Devotees offering candles at the Pulau Ubin Tua Pek Kong Temple. The temples celebrates two festivals in a big way.

Devotees offering candles at the Pulau Ubin Tua Pek Kong Temple. The temples celebrates two festivals in a big way.

Colours painted by the setting sun - setting the tone for a colourful night of entertainment under the stars.

Colours painted by the setting sun – setting the tone for a colourful night of entertainment under the stars.

The temple plays host twice a year to a series of festivities which are held to commemorate two important Chinese festivals which the temple celebrates in a big way. The bigger of the two is the Tua Pek Kong festival, celebrated to commemorate the birthday of the Earth Deity around the 15th day of the 4th Chinese month, while the Hungry Ghost festival which is celebrated with an auction around the 15th day of the 7th month, is a relatively quieter affair.

An image of the Earth Deity, Tua Pek King at the main altar of the Pulau Ubin Tua Pek Kong Temple.

An image of the Earth Deity, Tua Pek King at the main altar of the Pulau Ubin Tua Pek Kong Temple.

It is during both the festivals that the wayang stage sees use. Wayangs in the form of Teochew opera performed by the island’s Teochew Opera Troupe  (which I photographed at last year’s Hungry Ghosts Festival – click on this link for the post) based at the temple, are staged for the entertainment of the temple’s devotees (also for the visiting spirits in the case of the Hungry Ghost Festival)  providing a wonderful opportunity for Singaporean’s to revisit an almost forgotten tradition. In keeping up with the times, the stage also plays host to what perhaps is the new-age wayang – the getai (歌台), a somewhat kitsch (some even consider it crude) form of entertainment which by and large have replaced the wayangs of old during similar celebrations around Singapore.

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 – getai is often seen as kitsch and somewhat crude, but it does have a huge following in Singapore.

I had the opportunity to see the new wayang in action in the old village like setting provided by Pulau Ubin’s stage last evening. The getai was held on the last evening of the series of festivities held over six days from 23 to 28 May this year and saw a huge turnout  – boats worked like clockwork ferrying a steady stream of visitors to the temple and the festivities – which certainly made the atmosphere very festival like. Under the stars in in the comfort of the cool breeze, the audience had the seats provided already filled as the stage came alive with lights and action matched by the brilliant colours provided by the of rays of the setting sun.

The large crowd seated in front of the stage.

The large crowd seated in front of the stage.

While I would not be one to admit to being a fan of getai, I will admit that the experience of watching the gaudily dressed stars of the song stage, entertain with song many which were could well be tunes of yesteryear, as well as converse and joke in Hokkien on a stage under the stars, was one that I thoroughly enjoyed. It was particularly heartening to see the large crowd – many who broke out into smiles and laughter as the evening entertainment progressed, enjoy themselves. The atmosphere was such that it did also seem to free both young and old from the distractions we have to much of in the modern world (I must have been the only one not taking a photograph or a video clip with a mobile device who was seen to be fiddling with my mobile phone).

Marcus Chin (陈建彬) on stage.

Marcus Chin (陈建彬) on stage.

Members of the audience had their eyes glued to the stage throughout most of the evening.

Members of the audience had their eyes glued to the stage throughout most of the evening.

The getai show which was hosted by Xu Qiong Fang (浒琼芳) and Wang Lei (王雷) saw a string of getai stars appear on stage. Not having admitted to being a fan, there is also no need for me to pretend to know who I was being entertained by. I did however recognise one of the stars from a previous experience watching getai under the Flyer. That was veteran entertainer Marcus Chin (陈建彬). I was able to identify the Babes in the City (宝贝姐妹) pairing, only through a comment left on my instagram post  by filmaker Royston Tan (the pair featured in a video he produced, “The Happy Dragon“, to promote Safe Sex) .

Babes in the City (宝贝姐妹).

Babes in the City (宝贝姐妹).

Host Wang Lei (王雷) also entertained - standing next to him is Lee Bao En (李宝恩 ), a young getai star from Johor.

Host Wang Lei (王雷) also sang – standing next to him is Lee Bao En (李宝恩), a young getai star from Johor.

A relatively more recently introduced  form of festival entertainment, the getai does in fact have a long enough tradition, having gained in popularity during the 1970s as interest in the traditional forms of entertainment such as the Chinese Opera and Puppet Shows was waning. On the evidence of the turnout, it does seem that, love it or hate it, it does have a following and being more adaptable than the more traditional street theatre, it certainly is here to stay.  It was nice to be out under the stars in a setting one can otherwise no longer find. It felt as if it was yesterday … almost. It would have been nice to see just one thing more – the mobile food vendors (particularly the bird’s nest drink and the steamed sweet corn seller) who never were very far away whenever the wayang came to town.

The view backstage.

The view backstage.

A view through a window of the permanent wayang stage.

A view through a window of the permanent wayang stage.

More photographs of the stage and audience:

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