HH4021 Final Project

Our Mission Statement:

To document, preserve, and illuminate the rich history of Chinese Street Opera in Singapore, ensuring its cultural significance and artistic legacy are understood and appreciated by present and future generations.

Meet The Team!

Introducing the dedicated team-of-two, committed to unraveling the captivating history of Chinese Opera in Singapore. Driven by a shared passion for historical inquiry, we are embarking on a journey to uncover and provide new insights into the development and significance of this art form within the Singaporean context.

Our purpose is simple: We are dedicated to bring the untold stories of Chinese Opera in Singapore to light. Through this website and documentary, we intend to make this historical narrative more accessible to the public who are curious about the history of Chinese Opera within the local context.

Why this project?

The history of Chinese Opera in Singapore is an integral part of our nation's social, cultural, and artistic development, yet is often under-explored. This project seeks to discover and document the experiences of the Chinese Opera communities in Singapore.

**Darrel Moh,** Final Year History Student

**Darrel Moh,** Final Year History Student

**Elmo Paciencia,** Year 3 History Student

**Elmo Paciencia,** Year 3 History Student

Impact on Singapore's public society

By shedding light on Chinese Opera history, we hope to foster a deeper appreciation for Singapore's multicultural heritage. This can foster a greater sense of belonging and appreciation for the contributions of different communities to our shared heritage, and lead to a greater appreciation for the resilience and cultural contributions of the communities.

Main Contributors: Darrel & Elmo
Editor: Darrel & Elmo
Website Design: Darrel & Elmo
This project is dedicated for: HH4021 - Public & Applied History (Final Project)

Stakeholders

Singapore Hokkien Huay Kuan (SHHK)

The Singapore Hokkien Huay Kuan (SHHK) is one of the most important clan associations in Singapore, and are heavily involved in the preservation of Hokkien cultural activities. Involving them would give us access to much more sources and support.

Ministry of Culture, Community & Youth (MCCY)

The Ministry of Culture, Community & Youth (MCCY) is the main government branch for arts and cultural affairs. Involving the MCCY could bring our project into other cultural events and roadshows they host across the island. This would expose Chinese Opera and its history to a mass audience.

Singapore Chinese Chamber of Commerce and Industry (SCCCI)

The Singapore Chinese Chamber of Commerce and Industry (SCCCI) has historically held an important role in the preservation of Chinese Culture since its establishment in 1906. They have connections to all major dialect groups and strong business networks. This gives us more resources for research, and with their strong influence in the Chinese community, they could reinvigorate interest for troupes. They also hold exhibitions, which could also involve our project as well.

Roots.sg. A Chinese street opera in performance. Image. National Museum of Singapore. Late 19th Century. Available online at https://www.roots.gov.sg/Collection-Landing/listing/1140643.

Origins of Chinese Opera

First originated in the 2nd to 3rd Century, with roots tracing back to the Three Kingdoms Period (A.D 220 - 265).

Earliest Colonial Accounts

Earliest written accounts of Chinese Opera performances in colonial Singapore by Charles Wilkes and Jonas Daniel Vaughan.

Golden Age of Chinese Opera

In Singapore, Chinese Opera performances are enjoying a rise in popularity across a wide array of audience groups, including younger to elderly audiences.

Decline of Chinese Opera

As other forms of media gained prominence, Chinese Opera performances faced inevitable decline due to increased competition for audiences.

Promotion by the Government

Initiatives to promote Singapore's local Chinese Opera culture were implemented by the then Acting Minister for Culture, Ong Teng Cheong.

Chinese Opera in the present day

A look at the current state of Chinese Opera performances in Singapore in the 21st Century.

Origins of Chinese Opera

Originating in Anhui province as entertainment for deities, traditional Chinese opera (also known in Mandarin as 戲曲 xì qǔ) has evolved into a celebrated Chinese cultural art form. Traditional Chinese opera, a theatrical form with over a thousand years of history, with roots tracing back to the Three Kingdoms Period (A.D. 220-265) and reached its maturity in the thirteenth century during the Song Dynasty (960–1279).

Widely regarded as a peak period for artistic development, the Tang dynasty witnessed Emperor Xuanzong's creation of the Pear Garden (梨園), dedicated to training musicians, dancers, and performers, whose performances were largely for the imperial court. To this day, Chinese professional opera artists are still referred to honorifically as "Disciples of the Pear Garden" (梨園弟子).

It evolved from folk traditions like songs, dances, narrative, and early masked performances, alongside unique musical forms. A striking feature is the performers' traditional attire and makeup, which immediately communicate character traits to the audience.

Earliest Colonial accounts
in Singapore

Commander of United States Exploring Expedition (1838-1842)

Charles Wilkes

The U.S. Exploring Expedition first set sail at 3pm on 18 August 1838 from the city of New York. The fleet initially started from the east coast of the United States, and made their sail towards Madeira in Portugal, stopping at Porto Praya.

On their southward return to the US, the fleet made one final stop in Singapore. In early February 1842, nearly 500 naval officers, sailors, and scientists returning home after a four-year voyage of discovery, arrived at Singapore, providing one of the earliest American primary accounts of the island.

Sources:
1. https://www.nlb.gov.sg/main/article-detail?cmsuuid=a07c0ef0-d87f-49bf-a624-d09a1c3a4b52
2. https://biblioasia.nlb.gov.sg/vol-15/issue-2/jul-sep-2019/american-expedition/

The United States Exploring Expedition of 1838–1842. — The **United States Exploring Expedition (or Wilkes Expedition)** of 1838–1842.

The **United States Exploring Expedition (or Wilkes Expedition)** of 1838–1842.

One of the earliest written records of Chinese Opera performances in colonial Singapore was by Charles Wilkes, a United States commander of the US Exploring Expedition in February 1842 during the Lunar New Year Celebrations.

In the journal titled 'Narrative of the United States' Exploring Expedition (1838-1842)', Charles Wilkes described a scene of Chinese Opera performance he witnessed: "These sheds are closed on three sides, but open on that which faces the street. The stage is raised about six feet above the street; the whole is richly decorated with silk hangings, and banners with many inscriptions, and illuminated with coloured lamps."

While describing the actors and their performing costumes, he continues: "The dresses of the actors were very rich, and the females were represented by young men or boys. The male characters were for the most part masked, but not the female; the former generally had long black and white beards."

Sources:
1. https://www.loc.gov/item/14019413/
2. https://www.nlb.gov.sg/main/book-detail?cmsuuid=38a84384-a022-43b2-8369-62176ff2c16a

Prominent public official & lawyer in colonial Singapore (1845-1891)

Jonas Daniel Vaughan

Jonas Daniel Vaughan (1825-1891) was a prominent public official and lawyer who spent the majority of his life in the Straits Settlement during the early to late 19th Century.

In 1853, he described a Chinese Opera performance in Penang, where he highlighted crucial differences between ritualistic opera performances and what he referred to as 'domestic plays' - which were secular performances that he described as more easily understood and enjoyable. Vaughan also described that these performances were so spectacular that it attracted both Chinese and European audiences, who would organise parties to attend theatrical performances.

He also wrote the journal 'The Manners and Customs of the Chinese of the Straits Settlements (1879)', which provided several key observations of the early Chinese communities in colonial Singapore during the early 19th century.

Sources:
1. https://www.nlb.gov.sg/main/article-detail?cmsuuid=131f3f7f-47ba-42ed-ab4c-5ca5ce8fc79d
2. https://www.nlb.gov.sg/main/image-detail?cmsuuid=73d8ea2c-3d38-4e5f-b530-c4b8247958f6

Self Portrait of **Jonas Daniel Vaughan,** mid 19th Century.

Self Portrait of **Jonas Daniel Vaughan,** mid 19th Century.

Professional vs Amateur Chinese Opera

Professional Chinese Opera:
Usually performed outdoors located at temple grounds,
dedicated for religious ceremonies, such as - deities' birthdays and temple anniversaries.

Amateur Chinese Opera:
Usually performed indoors, such as - performing arts theatres, for cultural purposes and to cater for a wider range of audiences.

Use of Traditional Costumes and Makeup:
Both amateur and professional performers use elaborate and symbolic costumes and makeup. These visual elements are crucial in conveying the character's identity, status, and personality of Chinese Opera performances.

Efforts made by the local Government

Acting Minister for Culture of Singapore (1977-1981)

Ong Teng Cheong

Under the leadership of Ong Teng Cheong, who was the Acting Minister for Culture at the time, the government initiated several support schemes for performing arts groups and launched a series of significant festivals. These included the Singapore Festival of Arts in 1977, the Drama Festival and Chinese Operas at Hong Lim Park in 1978, and the Singapore Festival of Dance in 1982.

The 1980s also saw the introduction of the Young People's Theatre Festival, the Chinese Instrumental Music Festival, the Jazz Festival, and the Choir Festival. Later, as Second Deputy Prime Minister from 1985, Ong Teng Cheong was tasked with overseeing the ambitious national plan to establish Singapore as a society rich in vibrant cultures by 1999.

Among the government's diverse cultural programs, the Chinese Operas at Hong Lim Park, which began in 1978 and was later renamed and restructured as the Traditional Theatre Festival in 1986, notably captured the attention of anthropologists, ethnologists, cultural specialists, arts administrators, and traditional arts practitioners.

Sources:
1. Reaching Out for Cultural Roots: A Singapore Example in Reviving Traditional Theatre https://www.spafajournal.org/index.php/spafadigest/article/view/524

Opening of **Singapore Youth Festival** by Acting Minister for Culture, Ong Teng Cheong in 1978.

Opening of **Singapore Youth Festival** by Acting Minister for Culture, Ong Teng Cheong in 1978.

Our Objective

Amateur troupes are continually facing manpower shortages and are therefore in desperate need of new blood interested in the art.

We hope to not only spark interest in Chinese Street Opera for younger audiences, but also to document its history to prevent it from being lost.

We also hope to shed light on the logistical issues they face and humanise the performers. While they may just be seen as actors on a stage, their plights and traditions are real. Through this, we hope to drum up support to alleviate the restrictions they face in performing or for new avenues for them to perform be found.

If nothing changes, these troupes, along with the tradition, are likely to go extinct within the next few generations.

To achieve these, we hope to work with organisations such as the MCCY, SCCCI or the SHHK, to feature Chinese Street Opera in roadshows. The writeup and easily accessible website would make this easy to include in any heritage or cultural exhibitions, and would therefore not require significant resources from these influential organisations. We understand that this would not by itself bring Chinese Street Opera back into a golden age, but it is important to light that initial spark and bring any eyes to this once great tradition.