About
Active Period
—
Genre
Subgenre
—
Geographic Location
—
文化民俗表演製作; Southeast Asia Cultural Exchange Production
About
Lorem ipsum odor amet, consectetuer adipiscing elit. Integer elementum dolor torquent efficitur libero iaculis nam. Consectetur finibus aliquam nunc blandit litora tortor risus rutrum. Luctus vel pellentesque libero proin ex, augue tempus. Justo nec feugiat laoreet pulvinar mi mollis ridiculus? Potenti habitant dignissim sed molestie euismod. Ipsum in nostra scelerisque non sapien sapien porta sollicitudin. Adipiscing facilisi maecenas tempor ac dictumst sollicitudin eu?
Sed tincidunt ultricies diam, finibus massa primis. Ullamcorper adipiscing consequat sed dui mauris eleifend hendrerit, nulla malesuada. Lacinia morbi faucibus magnis augue habitasse a justo et. Nostra mattis porttitor a cursus tellus a. Iaculis aliquam litora sed massa mauris nisl viverra consequat. Dis tempor ac risus congue mi neque. Dictum volutpat nisi arcu est curae neque non condimentum.
Tempus massa nostra libero dolor nostra cursus. Fames praesent vitae vel vehicula sit a tempor. Dictumst duis montes et netus consectetur mattis nulla. Erat parturient elit vehicula sem et. Fermentum in natoque proin proin pretium sapien eleifend consectetur orci! Hendrerit lectus erat libero porta habitasse conubia. Fringilla ultricies himenaeos vehicula nascetur finibus. Fusce magna facilisis tincidunt nisl malesuada.
Production Date
Production Duration
Frequency
Schedule
| Run/Stop Name | Start Date | End Date | Venue | City/Country |
|---|---|---|---|---|
| name 1 | 01-Jun-2024 | 01-Jun-2024 | Conference Hall and Trade Union House | Singapore |
| Name 2 | 01-Jun-2024 | 01-Jun-2024 | Conference HAll | Singapore |
Person and Troupe
| Name | Type | Role in Production |
|---|---|---|
| Troupe | – | |
| Artiste | – |
| Performer (collaborateWith) | Purpose |
|---|---|
| Training | |
| Co-production |
Support (hasSupport)
| Supporter Name | Type of Support | Support Description |
|---|---|---|
| Individual |
A lover of Cantonese opera who provided performance spaces through his establishments, such as Nam Tin Restaurant (now known as Yue Hwa Building), contacts and funding. |
|
| Clan, association and society |
Provided funding and venues for performances through their temple networks, that include Thian Hock Keng Temple (天福宮); Goh Chor Tua Peh Kong Temple (梧槽大伯公庙); Leng San Teng Temple (麟山亭北极宫) |
Associated Performance(s)
Media
A string puppet show in Chinatown. Courtesy of National Archives of Singapore.
Chinatown in 1940s. Courtesy of National Heritage Board.
[if 149 equals=””]No media recorded.[/if 146]
Sources
Kraus, R. C. (2012). The cultural revolution: A very short introduction. Oxford University Press.
推广华语理事会. (2000). 华人、华语、华文 [The Chinese connection]. 推广华语理事会.
Chia, C. (2015). Potehi in Singapore, survival and change. In K. Fushiki & R. Ruizendaal (Eds.), Potehi: Glove puppet theatre in Southeast Asia and Taiwan (pp. xx-xx). Taiyuan Publishing.
Ruizendaal, R. (1990). A discovery in Fujian province: Iron-stick puppet theatre. CHIME: Newsletter of the European Foundation for Chinese Music Research, 2, 28–42.
Teh, S. H. (2004). 新加坡海南杖头木偶－三春隆木偶班个案研究 [Hainanese rod puppet in Singapore – A case study of San Chun Long puppet troupe] (Honours thesis). National University of Singapore.
Chia, C. (2016). The interaction of oral and literate practices in Singaporean Chinese temple theatre (Doctoral thesis). University of Melbourne.
Contributor
2024. “Chinese Cultural Production Series“. In Performing Archipelagos, edited by Kyueun Kim, Alvin Eng Hui Lim and Hedren Wai Yuan Sum. Singapore: National University of Singapore.
