About
Active Period
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Genre
Subgenre
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Geographic Location
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“Sin Sai Le”, “Sin Sai Lok”, “New Sai Le”, “New Sai Lok”, “新赛乐”, “新賽樂”
About
A prominent minju ban (闽剧班or Fujian opera troupe) founded by 林幸友Lin Xingyou after the dissolution of “Old Sai Le” 旧赛乐 in 1944, known for its strong lineup and performances that toured Taiwan, Singapore, and Indonesia in the 1920s
Established Date
Genre
Troupe Organisation
Travel (Tours and Routes)
| Departure Date | From | Arrival Date | To | Via |
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| No routes information recorded. | ||||
| Departure Date | From | Arrival Date | To | Via |
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| No routes information recorded. | ||||
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. |
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| 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) |
Context
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The troupe’s artistic practices are deeply rooted in the Minju (闽剧) traditions of Fujian Province, China. They drew upon local folklore, myths, and historical events unique to the region, such as the tales of Madam White Snake and The Butterfly Lovers. The use of the Fuzhou dialect and the incorporation of regional musical instruments like the erhu and pipa were integral to their performances.
Hiring renowned masters to teach and pass on skills, including Peking Opera masters and puppet theatre experts; [N8] Hired masters like Ruyi Shi 玉何师 (Peking Opera), Yuhe Shi 玉何师and Mingquan Shi 铭泉师 (puppet theatre), and Lin Yuebao 林月宝 (martial arts opera) to train performers.
Associated Performance(s)
Media
A string puppet show in Chinatown. Courtesy of National Archives of Singapore.
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. “Xin Sai Le Opera Troupe”. In Performing Archipelagos, edited by Kyueun Kim, Alvin Eng Hui Lim and Hedren Wai Yuan Sum. Singapore: National University of Singapore.
