What Does The Future Hold for Chinese Opera in Malaysia?

The millennia-old art form is now taking its last stand with less than 10 troupes in the whole of Malaysia

When I was younger, I’ve only ever seen one Chinese opera performance—and that was in Guangzhou, China. I don’t recall much, seeing as I was four or five at the time, but I do remember the performer’s lilting, almost nasally voice as she sang in tandem with the orchestra’s rhythmic tune. The loud hum of the erhu accompanied her singing, and the urgent clashing of cymbals conveyed an atmosphere of high tension.

She sang in Cantonese, but it was more a mix of the regional linguistic styles in southern China than the dialect we are more familiar with in Malaysia. And what this meant was that I hadn’t been able to understand a word of it.

Above Chong Keat Aun (Photo: John Chion of Timez Art)

A Chinese opera performer lines their eyes with dark liner

Above A Chinese opera performer getting ready for a performance

Today, while the language used in Chinese opera has adapted to modern times, it is more formal and uses proverbs to relay either classical Chinese fables or stories that illustrate human values and morals. Because of this, many find it difficult to understand the repertoires. Coupled with the passage of time and the proliferation of different forms of entertainment, a steady decline of this ancient art form seems inevitable.

Award-winning filmmaker Chong Keat Aun's Snow in Midsummer movie depicts the rise and fall of a Cantonese opera troupe in Kuala Lumpur during the ’80s. His tired expression speaks volumes about the state of Malaysian Chinese opera.

“The sad reality is that in my 17 years of documenting traditional arts of the local Chinese community, we may be looking at Chinese opera's extinction in the next decade,” he states solemnly. “And it’s not just because we don’t have the financial support or the lack of awareness. It's more how [Malaysian Chinese opera] cannot keep up with the times, especially since people these days prefer instantaneous entertainment.”

Chong Keat Aun and a Javanese wayang performer in Penang

Above Chong Keat Aun (left) and a Javanese tari topeng performer at the Melaka Art and Performance Festival 2016

Above Ling Goh

According to Chong, the pandemic only sped up its decline. As demands for performances grew less, many of the troupe members have turned to different careers.

The heyday of Malaysian Chinese opera was from the 1950s to 1980s. Chong says that back then, there were approximately 180 active troupes in Malaysia, but in 2018, only 18 to 20 active troupes were left. Today, there are less than 10 troupes in the whole of Malaysia, and even then, most troupes see less than three members; some are even a one-man troupe!

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Ling Goh, founder of the country's first-and-only Teochew Opera House and director of two remaining Teochew opera troupes in Malaysia, shares a different perspective. Providing workshops, classes and demonstrations of their performances to schools, the opera performer is intent on expanding the art form from the ground up with her platform.

“Of course it’s difficult,” she says candidly. “[Troupes] here don’t get paid salaries like they do in countries like Singapore or China. But it’s what I need to do—there are days when I wonder about what I’m doing, but at the end of the day, I love Chinese opera. I look at the people who come to our performances, young and old, most of them don’t even know what it is, and I think what I’m doing is worth it. I keep going because it’s not over yet. I haven’t achieved what I wanted to achieve. So until then, I’ll keep performing.”

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Goh also wanted to introduce the art of Chinese puppetry to the masses, but with an innovative twist. Although with her recent work, Ibu, is a wooden puppet show based on the local story of Si Tanggang that utilises methods both old and new, Goh hesitates to call it Chinese puppetry.

“I’m still trying to find a balance between what’s old and what’s new,” she admits. “Filming Ibu had made people aware of this art form but because it’s so localised and made modern with its many techniques, it’s not Chinese puppetry. When it comes to the actual art form, because of the language barrier and the misconception about Chinese opera, people think that it’s just a street performance or that it's only meant for religious festivities. But at the heart of it all, we perform for people to watch.”

Above While the style isn't practised in Malaysia, Kunqu, one of the oldest styles of Chinese opera that is said to be the starting point of the art form, is seen modernised in terms of the language and melody sang in the video.

Goh urges: “We need to start them young. People forget because they don’t talk about it anymore. It’s not just Chinese opera, but the cultural values behind the performances—the morals taught and the lessons they impart.”

Chong echoes this sentiment. “We need more than just the community. One person alone can only do so much. One troupe can only do so much. We need financial support from both the private and public sectors. And we need to begin raising awareness in schools to have the younger generation at least be aware of the rich cultures we have in Malaysia.”

To help you better appreciate the complex nuances of Chinese opera, scroll the galleries below for some interesting facts.

The Symbolism of Colours in Chinese Opera

Gold and silver colours represent otherworldly beings, usually deities and 'fairies' (which is known as 'xian', in Mandarin)

Green signifies characters who are violent, impulsive, lacking restraint or self-control; sometimes, this colour also symbolises a chivalrous nature

Purple is usually for characters who are just, sophisticated, wise and resourceful.

Black represents a 'rough' sort of character, one that is stern, serious, righteous and neutral.

Yellow often represents characters that are cunning, calculative, devious, cowardly, and even ambitious—though whether their ambitions are just is another question entirely.

Blue, while sometimes associated with demonic beings, can also be for characters that are stubborn, ferocious, astute and neutral in their stance towards events.

Clowns, also known as 'chou' in Mandarin, are a supporting character that can be vital to a repertoire. They are usually seen in white face paint, which represents a suspicious, crafty character that can be malevolent and treacherous in nature. Sometimes, they're seen as wisemen, of a sort.

Photo 1 of 8 Gold and silver represent otherworldly beings, usually deities and fairies

Photo 2 of 8 Green signifies a character who is violent, impulsive, lacking restraint or self-control, although sometimes this colour symbolises chilvary

Photo 3 of 8 Purple is usually for a character who is just, sophisticated, wise and resourceful

Photo 4 of 8 Red is mostly associated with Guan Yu, a main character in Chinese opera shows like 'Huarong Trail' and 'Red Cliffs', and other excerpts from 'Romance of the Three Kingdoms'. The colour symbolises bravery, fidelity, loyalty and integrity.

Photo 5 of 8 Black represents an uncouth character, although it also represents characteristics like seriousness, righteousness and neutrality.

Photo 6 of 8 Yellow often represents a character who is cunning, calculative, devious, cowardly, and even ambitious

Photo 7 of 8 Blue, while sometimes associated with demonic beings, can also be for a character who is stubborn, ferocious, astute and neutral

Photo 8 of 8 White represents a suspicious and crafty character who can be malevolent and treacherous in nature

The Roles in Chinese Opera

Beijing opera performer Zhu Hong as Yu Ji, the female lead in 'The Hegemon-King Bids His Consort Farewell'. In Chinese opera, the female lead is usually referred to as the 'dan'. Depending on the role as well as the script, the 'dan' can have many subtypes. (Photo: LaoDingYa/Lofter)

The character Zhao Yun, a military general who lived during the late Eastern Han dynasty and early Three Kingdoms period of China, is a 'wu sheng' role, also known as a martial male role. The male roles are known as 'sheng', and like their female counterpart, the role has several subtypes as well.

The above image is a performer playing the part of Chinese military general, Guan Yu, one of the more famous roles in the Romance of Three Kingdoms. The 'jing' refers to a rough or mighty male character. This role in particular requires heavier face painting. Like the ‘chou’, the face paint designs for jings are complicated and more colourful compared to the other roles. Their songs are usually performed with a robust yell. (Image: iStock)

A Kunqu performer as the 'chou', also known as the 'jester' in Chinese opera. While a minor role and usually for comic effect, jesters are pivotal characters when it comes to the guban (drums and clapper), leading the percussion instruments as they perform their solos. Depending on the role they play, they can be divided into two categories: wen chou and wu chou. The former is a more 'scholarly' sort of chou while the latter is more prone to physical stunts and acrobatic feats. (Photo: Marcusshu/Wikipedia)

Photo 1 of 4 Beijing opera performer Zhu Hong as Yu Ji, the female lead in 'The Hegemon-King Bids His Consort Farewell'. In Chinese opera, the female lead is usually referred to as the 'dan'. Depending on the role as well as the script, 'dan' can have many subtypes. (Photo: LaoDingYa/Lofter)

Photo 2 of 4 The character Zhao Yun, a military general who lived during the late Eastern Han dynasty and early Three Kingdoms period of China, is a 'wu sheng' role, also known as a martial male role. The male roles are known as 'sheng', and like their female counterparts, the role has several subtypes.

Photo 3 of 4 Chinese military general Guan Yu, one of the more famous 'jing' roles in 'The Romance of Three Kingdoms'. The 'jing' refers to a rough or mighty male character. Jings, like the chou, require heavier face painting. Their songs are usually performed with a robust yell. (Image: iStock)

Photo 4 of 4 A Kunqu performer as the 'chou', also known as the jester in Chinese opera. While a minor role and usually for comic effect, jesters are pivotal when it comes to the guban (drums and clapper), leading the percussion instruments as they perform their solos. Depending on the role they play, they can be divided into two categories: wen chou and wu chou. The former is a more scholarly while the latter is prone to physical stunts and acrobatic feats. (Photo: Marcusshu/Wikipedia)

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Topics

Chinese Opera History Ling Goh Teochew Opera House Chong Keat Aun

Tatler Asia

The Future of Chinese Opera in Malaysia: Two Experts Weigh In

The Symbolism of Colours in Chinese Opera

The Roles in Chinese Opera