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Download the Schedule for the Celebrations religions Article Live Streaming and Digital Stages for the Hungry Ghosts and Deities Alvin Eng Hui Lim Department of English Language and Literature, Faculty of Arts and Social Sciences, National University of Singapore, Block AS5, 7 Arts Link, Singapore 117570, Singapore; [email protected] Received: 25 May 2020; Accepted: 10 July 2020; Published: 17 July 2020 Abstract: Many Chinese temples in Singapore provide live streaming of getai (English: a stage for songs) during the Hungry Ghost Month as well as deities’ birthday celebrations and spirit possessions—a recent phenomenon. For instance, Sheng Hong Temple launched its own app in 2018, as part of a digital turn that culminated in a series of live streaming events during the temple’s 100-year anniversary celebrations. Deities’ visits to the temple from mainland China and Taiwan were also live-streamed, a feature that was already a part of the Taichung Mazu Festival in Taiwan. Initially streamed on RINGS.TV, an app available on Android and Apple iOS, live videos of getai performances can now be found on the more sustainable platform of Facebook Live. These videos are hosted on Facebook Pages, such as “Singapore Getai Supporter” (which is listed as a “secret” group), “Singapore Getai Fans Page”, “Lixin Fan Page”, and “LEX-S Watch Live Channel”. These pages are mainly initiated and supported by LEX(S) Entertainment Productions, one of the largest entertainment companies running and organising getai performances in Singapore. This paper critically examines this digital turn and the use of digital technology, where both deities and spirits are made available to digital transmissions, performing to the digital camera in ways that alter the performative aspects of religious festivals and processions. In direct ways, the performance stage extends to the digital platform, where getai hosts, singers, and spirit mediums have become increasingly conscious that they now have a virtual presence that exceeds the live event. Keywords: Singapore; Hungry Ghost Festival; digital technology; live streaming; religion online; spirit mediums; digital culture; ritual event; getai performance 1. Digital Stagings of Deities and Ghosts Chinese temples in Singapore have recently incorporated the use of video streaming technology in religious festivals, deities’ birthday celebrations, and anniversary celebrations. This use of live streaming is most prevalent during the Hungry Ghost Month, where it is believed that the gates of Hell open during the seventh lunar month and spirits wander amongst the living. During this month, “public performances ranging from traditional Chinese opera (denoted in Singapore by the Malay term “wayang”) to live concerts, commonly known as getai in Singapore” accompany “religious rituals and offerings, feasts and auctions for charitable purposes” (Liew and Chan 2013, p. 273). Since Liew Kai Khiun and Brenda Chan’s most recent and comprehensive study of Hokkien popular music in Singapore in 2013, there has been a shift to live streaming of getai (loosely translated as song-stage), made popular by the Facebook Live function which was fully rolled out in 2016. In an earlier research on getai, Chan and Yung(2005) provide a historical narrative of getai in Singapore as part of their construction of “a genealogy of social transformation of leisure and recreation” of the Singaporean Chinese. They argue that this transformation, Religions 2020, 11, 367; doi:10.3390/rel11070367 www.mdpi.com/journal/religions Religions 2020, 11, 367 2 of 14 ::: culminates in the moment of recreational consumption, or recreation as consumption—a unique moment of modernity when we posit, as ideal types, three places where recreation occurred: in the streets, in the parks, and on the air. (Chan and Yung 2005, p. 106) Religions 2020, 11 2 of 15 Extending… culminates the “places” in the moment mentioned of recreational above to consumption, the digital andor recreation onlinespaces, as consumption— this article closely examinesathe unique intersections moment of betweenmodernity the when spiritual we posit, and as theideal digital. types, three It also places locates where religious recreation acts on the Internet andoccurred: analyses in the online streets, videos in the ofparks, religious and on rituals the air. that (Chan now and circulate Yung 2005, with p. 106) other forms of public entertainment. It follows developments in the field of religion online that looks into “how individuals Extending the “places” mentioned above to the digital and online spaces, this article closely and communitiesexamines the intersections are dovetailing between the Internetthe spiritual into and their the daily digital. local It also and locates transnational religious lives”acts on( Cheongthe et al. Internet2009; see and Haythornthwaite analyses online videos and Wellmanof religious 2002 rituals). Evolving that now circulate from the with earlier other “organised forms of public attempt” and theentertainment. “one-to-many It follows communication” developments in (Helland the field of2002 religion, p. 207) online approach that looks to into providing “how individuals information aboutand a religious communities group are ordovetailing organisation the Internet to the into Internet, their daily Chinese local templesand transnational in Singapore, lives” (Cheong for instance, are embracinget al. 2009; the see onlineHaythornthwaite platform as and another Wellman site 2002). for religious Evolving activity from the that earlier incorporates “organised the attempt” hallmarks of popularand entertainmentthe “one-to-many and communication” online videos. Popular(Helland entertainment2000, p. 207) approach performed to providing during religious information festivals and birthdayabout a religious celebrations group is or essentially organisation for humans,to the Internet, spirits, Chinese and gods temples to enjoy, in Singapore, and this isfor performatively instance, are embracing the online platform as another site for religious activity that incorporates the hallmarks signalled and emphasised at various points during a performance. This remains a significant aspect of of popular entertainment and online videos. Popular entertainment performed during religious such entertainment—despite Singapore’s long modernity project, spirits persist. As cabinet ministers festivals and birthday celebrations is essentially for humans, spirits, and gods to enjoy, and this is and membersperformatively of parliament signalled areand increasingly emphasised presentat variou ats thesepoints festivitiesduring a performance. and would often This postremains images a of theirsignificant attendance aspect on social of such media, entertainment—despite there is a sense that Singapore’s the new long reality modernity for Chinese project, temples spirits in persist. Singapore is oneAs that cabinet encompasses ministers multipleand members addressees, of parliament each involved are increasingly in their present own form at these of archiving. festivities Each and new post orwould mediated often post message images on of the their Internet attendance then on increases social media, their publicthere is visibility. a sense that Moreover, the new reality “the scale for and expenseChinese of temple temples festivals—in in Singapore particular is one that the encompa qualitysses of themultiple theatrical addressees, performances—is each involved a directin their index of theown success form of archiving. the temple”, Each as new Jean post DeBernardi or mediated points message out on (DeBernardi the Internet then2012 increases, p. 296). their In thatpublic regard, I arguevisibility. that temples Moreover, perform “the scale their and rituals expense and festivitiesof temple festivals—in through a bricolageparticular ofthe gestures, quality of machines, the theatrical performances—is a direct index of the success of the temple”, as Jean DeBernardi points practices, and mediated performances that come together in an assemblage of human creativity and out (DeBernardi 2012, p. 296). In that regard, I argue that temples perform their rituals and festivities technological revelation of the gods, spirits, and human participants. More specifically, the digital through a bricolage of gestures, machines, practices, and mediated performances that come together addsin to an the assemblage index of theof human success creativity of a temple and technolo in scalinggical up revelation its festivals, of the blurring gods, spirits, the divideand human between deitiesparticipants. and humans More as specifically, a result. This the digital assemblage adds to of the mediation index of the is discussedsuccess of a in temple terms in of scaling performance, up whereits I festivals, closely examineblurring the the divide performative between deities gestures and andhumans acts as that a result. signal This the assemblage intersections of mediation between the spiritualis discussed and human in terms realms, of performance, and between where popular I closely entertainment examine the performative and religion. gestures Through and performanceacts that and digitalsignal the mediation, intersections these between intersections the spiritual form an andd human gather. realms, and between popular entertainment Figureand religion.1o ffers Through a view performance of where I and sat whendigital I me attendeddiation, athesegetai intersectionsperformance form in and Eunos gather. and serves as a startingFigure point 1 for offers this a study,view of thatwhere is, I tosat drawwhen
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