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most important part is to fix a piece of ritualistic red sash to the black hat which is to be worn by the Deity of Fortune. Often a pair of gem fu TE (golden flower), which are made of thin metallic foil and used for decorating a deity's shrine, is placed on both sides of the hat, and sometimes the pair of "wings" on the hat are turned upright to imitate the hat worn by the deity Zung Kwae who is well known for his exorcistic power. In either case, the hat's peculiar features illustrate that the one who wears it is a deity and not a mortal. Once the hat is ready, troupe members should hide themselves and follow the taboo in an absolute manner.
After putting on the appropriate costume, the actor who plays the Deity of Fortune paints his face black with only some white spots, and puts on the mock black beard. Another actor who plays the White Tiger dresses in the tiger costume, and gets the mask but does not put it on until he has to enter the stage. The actors then quietly offer incense at the shrine of the deity Wa Gwong #, who is the major patron of the Cantonese operatic profession. Often incense, fruit and meat are also offered at the shrines of the other patron deities of the numbers of the troupe, which are also placed on the same altar alongside the shrine of Wa Gwong. When the chosen time is approaching, the two actors wait behind the Tiger Gate at stage right. One of the backstage workers hands over the wooden staff to the actor who plays the Deity of Fortune. A string of firecrackers has already been tied to the end of the staff. Holding a joss candle, the worker stands close to the Deity of Fortune and is ready to light the firecrackers when the time comes.
The Performance of the White Tiger Ritual
The complete White Tiger ritual is described below and the key episodes are highlighted.
1. With the lighting of the firecrackers and the playing of the gong, cymbals, drum and woodblocks, the Deity of Fortune holds the wooden staff upright, enters the stage from stage right, runs straight across the stage, enters the backstage, runs through the corridor at backstage right behind the backdrop and immediately re-appears onstage.
2. After making a posture, known as zat ga loeng soeng (扎架亮相)