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Chau Li-ping's house, held on one, and possibly, two floors. Again, I did not ask the number of tables, but the place was packed. I saw no sign of entertainment in the restaurant but there was a large stage on the western waterfront. There was a capacity crowd there, and it was very difficult to squeeze through to another performance further on. The loud-speakers were good, and very loud, and the performance was a traditional Cantonese opera in high-quality costume. The show had cost the organizers $1,600 for two days. Further along, the Chung Hing Street (#26) association's stage was much duller by comparison, though traditional. The stage costumes and loud-speaker system were of poorer quality but I understood that this two-day show had cost only a little less, at $1,400.
We then visited the Chiu Chow Association ($45ƒ€) in its new (1969) premises. The place was packed, and we were on the third and top floor where there is an altar with spaces for memorial tablets. We ate again, and an auction of lanterns and other items was in progress during the forty or more minutes that we spent there. There was apparently no entertainment or stage performance, but the Wai Chiu Association (€), which is allied with this much newer association, was giving a Cantonese opera performance at the recreation ground at the Pak Tai temple. An outside altar had been set up for the Pak Tai god, at which kau pao2 were being handed in and donations registered.
Besides the Chung Hing Street festivities, some of the other street associations were also celebrating the day. The Pak She Street (ii) and San Hing Street (#) Associations' premises were gaily decorated and lit up, and an altar and kau pao were seen in the San Hing Street premises. I did not have time to look closely into the Pak She office.
The Tai San Street (#) people have no premises and had no stage performances, but they had erected their usual lo tang pang (M) to which the small carrying image (17) of Hung Shing (#) from the nearby temple had been brought. This matshed is of particular interest. Inside is a red and white scroll with couplet dated Hsien Feng Z year (1859-1960) written by Cheung Yuk-tong (3FF) who, as we know from other inscrip-
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Chau Li-ping's house, held on one, and possibly, two floors. Again, I did not ask the number of tables, but the place was packed. I saw no sign of entertainment in the restaurant but there was a large stage on the western waterfront. There was a capacity crowd there, and it was very difficult to squeeze through to an- other performance further on. The loud-speakers were good, and very loud, and the performance was a traditional Cantonese opera in high-quality costume. The show had cost the organizers $1,600 for two days. Further along, the Chung Hing Street (#26) association's stage was much duller by comparison, though tradi- tional. The stage costumes and loud-speaker system were of poor- er quality but I understood that this two-day show had cost only a little less, at $1,400.
We then visited the Chiu Chow Association( $45ƒ€ ) in its new (1969) premises. The place was packed, and we were on the third and top floor where there is an altar with spaces for memorial tablets. We ate again, and an auction of lanterns and other items was in progress during the forty or more minutes that we spent there. There was apparently no entertainment or stage perfor- mance, but the Wai Chiu Association (€), which is allied with this much newer association, was giving a Cantonese opera performance at the recreation ground at the Pak Tai temple. An outside altar had been set up for the Pak Tai god, at which kau pao2 were being handed in and donations registered.
Besides the Chung Hing Street festivities, some of the other street associations were also celebrating the day. The Pak She Street (ii) and San Hing Street (#) Associations' premises were gaily decorated and lit up, and an altar and kau pao were seen in the San Hing Street premises. I did not have time to look closely into the Pak She office.
The Tai San Street (#) people have no premises and had no stage performances, but they had erected their usual lo tang pang (M) to which the small carrying image (17) of Hung Shing (#) from the nearby temple had been brought. This matshed is of particular interest. Inside is a red and white scroll with couplet dated Hsien Feng Z year (1859-1960) written by Cheung Yuk-tong (3FF) who, as we know from other inscrip-
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