References
Book
“All about puppets”, The Straits Times, 10 March 1981.
Afendras, Evangelos A. 1980. Language and Society in Singapore.
Singapore: Singapore University Press.
Anderson, Poul. 2008, “Bugang (Walking along the guideline)”, Fabrizio
Pregadio ed., The Encyclopedia of Taoism, London; New York: Routledge.
Baptandier, Bridgette. 1996. “The Lady Linshui: How a Woman
became a Goddess”, Meir Shahar and Robert P. Weller ed., Unruly Gods:
Divinity and Society in China. University of Hawaii Press, 97, 110, 173-4.
Cai Guomei 蔡国妹 2016. Puxian fangyan yanjiu 莆仙方言研究, Xiamen:
Xiamen daxue chuban she.
Chia, Caroline. 2016, “Potehi in Singapore: Survival and Change”,
Kaori Fushiki and Robin Ruizendaal eds., Potehi: Glove Puppet Theatre in
Southeast Asia and Taiwan, Taipei: Taiyuan Publishing, 65-80.
___________., 2019. Hokkien Theatre across the Seas: A Sociocultural
Study, Singapore: Springer.
___________., 2019, “A Preliminary Study of Chaozhou (Teochew)
Iron-stick Puppet Theatre in Singapore”, JOSA, Vol. 51, 47-69.
Clark, Hugh. 2007. Portrait of a Community: Society, Culture and the
Structures of Kinship in the Mulan River Valley (Fujian) from the late Tang
through the Song. Hong Kong: Chinese University Press.
China News Website,
http://www.chinanews.com/hr/2012/04-26/3848934.shtml, accessed 9 December
2015.
Chong Wing Hong, “When the Monkey King is a mere puppet in human hands”,The Straits Times, 8 September 1988, 4.
“Community Heritage Series II: Wet Markets”, Book 2 of National Heritage
Board’s E-books Collection, 3,
http://www.nhb.gov.sg/~/media/nhb/files/resources/publications/ebooks/nhb_ebook_wet_markets.pdf
“Chinese Resident Population by Age Group, Dialect Group and Sex, 2015,
accessed https://data.gov.sg/dataset/chinese-resident-population-by-age-group-dialect-group-and-sex-2015.
Dean, Kenneth. 1994, “Comic Inversion and Cosmic Renewal in the Ritual
Theater of Putian: The God of Theater in Southeast China”, Wang Ch’iu-kui, ed.,Proceedings of International Conference on Popular Beliefs and Chinese
Culture, Taipei: Centre for Chinese Studies, Research Series No. 4 II,
683-732.
Dean, Kenneth and Zheng Zhenman, 2010. Ritual Alliances of the Putian
Plain, Leiden; Boston: Brill.
Deng Fulin 邓富粦et al. 2001, “Chapter One: Huaqiao de qiyuan yu fazhan第一篇:华侨的起源与发展”, Meizhou shi huaqiao zhi梅州市华侨志, Xingguang yinshua (Shenzhen)
youxian gongsi.
Dolby, William, 1978, “The Origins of Chinese Puppetry”, Bulletin of
the School of Oriental and African Studies, University of London, Vol. 41,
No. 1, 97-120.
Dong Fu 董复, 1983, “Kemu qiansi nong kuilei: Cong kuilei yishu anxihui tanqi 刻木丝弄傀儡—从傀儡艺术研习会谈起” [Carving wood and pulling strings to manipulate marionette puppets—starting with
a workshop on the art of the puppets], 24-35.
Fischer-Schreiber, Ingrid. 1989. Encyclopedia of Eastern Philosophy
and Religion: Buddhism, Hinduism, Taoism, Zen, Boston: Shambhala.
Gov.sg, “HDB’s Ethnic Integration Policy: Why it still matters”,
https://www.gov.sg/article/hdbs-ethnic-integration-policy-why-it-still-matters,
accessed 6 April 2021.
Grant, Beata and Wilt L. Idema, 2012. Escape from Blood Pond Hell:
The Tales of Mulian and Woman Huang, University of Washington Press.
Guo, Qitao. 2005. Ritual Opera and Mercantile Lineage: The Confucian
transformation of popular culture in late imperial Huizhou. Stanford,
California: Stanford University Press.
Han, Boquan 韩伯泉, 1991, “Xiju, quyi, yinyue, wudao 戏剧、曲艺、音乐、舞蹈”, Kejia fengqing zhi 客家風情志, Zhonghua
shuju.
Ho, Dah-an. 2007, “The characteristics of Mandarin dialects”, in Graham
Thurgood and Randy J. LaPolla eds., The Sino-Tibetan Languages, London:
Routledge.
Huang Changyi 黄长怡, 2006, “Chaozhou Zhiyingxi de lishi yu xianzhuang (yi) 潮州纸影戏的历史与现状(一)” [The History and Status Quo of Chaozhou Paper Shadow/Iron-stick
Theatre Part I], Chaozhou wenhua yanjiu [Research on Chaozhou Culture]
5/6, 49-56.
Huang Shaolong, 2012. Quanzhou tixian muouxi 泉州提线木偶戏 [The string puppet theatre of Quanzhou], Wenhua yishu
chuban she.
Hu Xingfu胡幸福, 2009. Quwen Guangdong 趣闻广东, Songbo chuban shiye youxian gongsi.
‘Illustrated Compendium of the Origins of Deities of the Three-in-One
Religion’, accessed
https://ctext.org/wiki.pl?if=gb&chapter=301067&remap=gb
Jin, Jie. 2011. Chinese Music, translated by Wang Li and Li Rong,
Cambridge; New York: Cambridge University Press.
Kang Baocheng 康保成, 2020, “Shuai hai-er, Tai ge, rou kuilei 耍孩儿·台阁(抬阁)·肉傀儡” (Children’s plays, parade and flesh
puppets), Xiju yishu 戏剧艺术, Vol. 1 (General vol. 213), 39-48.
Ke Ziming 柯子铭and Tan Huafu 谭华孚, 2008, “Chapter 3: Muouxi 第三章:木偶戏”, Fujian sheng zhi wenhua yishuzhi 福建省志·文化艺术志, Fujian renmin chubanshe, 136-182.
Kleeman, Terry F. 1994. A God's Own Tale: The Book of Transformations
of Wenchang, the Divine Lord of Zitong, Suny Press.
Kratoska, Paul H. 1992, “Banana Money: Consequences of the
Demonetization of Wartime Japanese Currency in British Malaya”, Journal of
Southeast Asian Studies, Vol. 23, No. 2, 322-345.
Kuah-Pearce, Khun Eng. 2000. Rebuilding the Ancestral Village:
Singaporeans in China, Aldershot: Ashgate.
Lau, Frederick. 2001, “Performing Identity: Musical Expression of
Thai-Chinese in Contemporary Bangkok”, Sojourn: Journal of Social Issues in
Southeast Asia, Vol. 16, No. 1, 37-69.
Laufer, Berthold. 1923. Oriental Theatricals, Chicago: Field
Museum of Natural History.
Lim, Cloris Sau-Ping. 2014, “Nanyin musical culture in southern Fujian,
China: Adaptation and Continuity”, Doctoral dissertation, Department of Music,
School of Oriental and African Studies, University of London.
Loh, Kah Seng. 2013. Squatters into Citizens: The 1961 Bukit Ho Swee
Fire and the Making of Modern Singapore, Singapore: NUS Press.
Li Guoqiang 李国强 et al. 2004, “Gannan Kejia wenhua 赣南客家文化”, Gan wenhua tongzhi 赣文化通志, Jiangxi
jiaoyu chubanshe.
Li Qiquan 李其泉, 1992. Min Tai Liu Qin 闽台六亲, Xiamen: Xiamen daxue chubanshe.
Little, Stephen. 2000, “Heaven and Earth: Taoist Cosmology ‘The Eight
Trigrams’”, Stephen Little et al., Taoism and the Arts of China,
Berkeley: University of California Press/Arts Institute of Chicago.
Liu Kezhuang, “Nian nu jiao 念奴娇”, Song dai Liu Kezhuang Quanji, Quan Songci, Beijing: Zhonghua
shuju.
Mair, Victor H. 1983, Tun-huang popular narratives, Cambridge
[Cambridgeshire]; New York: Cambridge University Press.
_________. 1991, “What is a Chinese “Dialect/Topolect”? Reflections on
Some Key Sino-English Linguistic Terms”, Sino-Platonic Papers, No. 29, 1-31.
Ng, Wing Chung. 2015, “Itinerant actors and red boats in the Pearl River
Delta”, The rise of Cantonese opera, Urbana: University of Illinois.
‘Officer Assaulted, Inspector Swyny Tells His Story: Sequel to Stopping
a Teochew Wayang’, Malaya Tribune, 21 October 1926, 8.
Pitt Kuan Wah, Lim Moh Cher, Ng Yoke Lin eds. 1988. Wayang: A History
of Chinese Opera in Singapore, Singapore: National Archives.
Ruizendaal, Robin. 1990, “A Discovery in Fujian Province: Iron Stick
Puppet Theatre”, CHIME: Newsletter of the European Foundation for Chinese
Music Research, 2, 28-42.
_________., 2006. Marionette Theatre in Quanzhou, Leiden: Brill.
Saso, Michael. 1972. Taoism and the Rite of Cosmic Renewal,
Washington: Washington State University Press.
Savage, Victor R. and Brenda Yeoh. 2013. Singapore Street Names: A
Study of Toponymics, Singapore: Marshall Cavendish Editions.
Schipper, Kristofer Marinus. 1966, “The Divine Jester, Some Remarks on
the Gods of the Chinese Marionette Theater”, Bulletin of the Institute of
Ethnology: Academia Sinica 21, 81-94.
_________., 1993. The Taoist Body, translated by Karen C. Duval,
Berkeley: University of California Press.
_________., 1985, “Vernacular and Classical Ritual in Taoism”, Journal
of Asian Studies, Vol. XLV, No. 1, 21-57.
Schipper, Kristofer Marinus and Franciscus Verellen eds. 2004. The
Taoist Canon: A Historical Companion to the Daozang, Chicago: University of
Chicago Press.
Shafer, Edward H. 1977. Pacing the Void: T’ang Approaches to the
Stars, Berkeley and London: University of California Press.
So, Billy K.L. 2000. Prosperity, region, and institutions in maritime
China: the South Fukien
pattern, 946-1368. Cambridge, Mass: Harvard University Asia Center.
“Song Jun Shou Zhu Zi Yu Su Wen” (宋郡守朱子谕俗文) in Min Feng (民风), Shen
Dingjun and Wu Lianxun ed., Zhangzhou fu zhi (漳州府志), Taipei: Chengwen chu ban she,
reprinted 1965.
“Di Wang Jiang Xiang Jin Zai Zhang Zhong 帝王将相尽在掌中”, Lianhe Zaobao, 21 August
1988, 52.
Sun Shiwen 孙世文, 1980, “Kuileixi qiyuan yu “Yong” kao 傀儡戏起源于“俑”考 兼及“傩”与傀儡戏起源之关系” [The examination of puppet theatre originating from mortuary figurines
and its relationship with “nuo”], Dongbei Shida Xuebao 东北师大学报, Vol. 1,
1980, 52-57.
Tanaka Issei, 1991, “Xinjiapo Puxian tong xiang hui feng jia pu du
Mulian xi chu tan 新加坡莆仙同乡会逢甲普度目连戏初探”, Fujian Mulianxi yan jiu wen ji 福建目连戏研究文集, Fuzhou: Fujian sheng yishu yanjiu
suo.
Teh Seh Hwee, “Xinjiapo Hainan Zhangtou Muou—San Chun Long Muou Ban Ge
An Yan Jiu 新加坡海南杖头木偶:三春隆木偶班个案研究”, Honours thesis, National University of Singapore, 2004.
‘Teochew Society Fights’, Singapore Free Press and Mercantile
Advertiser, 6 September 1927, 9.
The Department of Statistics Singapore, General Household Survey, 2015, https://www.singstat.gov.sg/-/media/files/publications/ghs/ghs2015/ghs2015.pdf.
The People’s Government of Meizhou city, Meixian district, accessed
http://www.gdmx.gov.cn/zjmx/jzyg/ content/post_74124.html
The Promote Mandarin Council, Hua ren, Hua yu, Hua wen [Mandarin:
The Chinese Connection]. Singapore: The Promote Mandarin Council, 2000.
Tien Heng Kang Heng Nam Drama Association, 2006. Xin xing gang
qiongnan jushe wushi zhounian jinian tekan 新兴港琼南剧社五十周年纪念特刊, Singapore: Xin xing gang qiong nan ju she, 2006.
Van der Loon, Piet. 1992. The Classical Theatre and Art Song of South
Fukien: A Study of Three Ming Anthologies. Taipei: SMC Publishing.
Wang Jing王静 and Wen Shaojun 文少军, 2010, “Hainan sheng feiwuzhi wenhua yichan jieshao (18) Hainan
gongzaixi海南省非物质文化遗产介绍 (18) 海南公仔戏”, Xin Dongfang 新东方.
Wang Yuyan, “Performance, Repertoire, Instruments, Technique,
Transmission and Sustainability in an Ancient Chinese Percussion Genre”,
Doctoral Dissertation, Griffith University, 2011. Link to Dissertation, https://www120.secure.griffith.edu.au/rch/file/f0bfe5cd-2f88-d10d-6c7a-397dd69e8219/1/WangY_2011_02Thesis.pdf
Wang Zhenchun 王振春, 1988, Gen de xi lie 根的系列, Singapore: Shengyou shuju.
_________. 2000. Liyuan hua dang nian 梨园话当年, Singapore: Lingzi dazhong chuanbo
gongsi.
Werle, Helga. 1973, “Swatow (Ch’aochow) Horizontal Stick Puppets”, Journal
of the Hong Kong Branch of the Royal Asiatic Society Vol. 13, 73-84.
Wuhua xian zhengban wenshi yanjiushi 五华县政协文史研究室, “Wuhua muouxi 五华木偶戏”, Wuhua
wenhuazhi/xiqu yiyuan五华文化志/戏曲艺苑, Guangdong sheng Wuhua xian yinshua chang.
Wu Zimu, “Meng Liang Lu”, in “Chapter 20: Hundred Plays and the arts”
(Baixi jiyi 百戏伎艺), accessed https://ctext.org/wiki.pl?if=gb&res=569501&remap=gb.
Xie Yongchang谢永昌, 2004, “Meizhou muouxi 梅州木偶戏”, Lingnan wenshi 岭南文史, 71-73.
Xingzhou Qiongya Linshi Gonghui, 1948. Xingzhou Qiongya Linshi
gonghui 10 zhounian ji nian kan 星洲琼崖林氏公会十周年纪念刊, Singapore: Xingzhou Qiongya Linshi Gonghui.
Ye Mingsheng, 2004, Fujian kuileixi shilun 福建傀儡戏史论, Zhongguo
xiju chubanshe.
_________. 2009, “Gudai rou kuilei xingtai de zai tantao 古代肉傀儡形态的再探讨” (A new discussion on the performance style of ancient flesh puppets),
Zhonghua xiqu, Vol. 39, 233-248.
Ye Mingsheng and Li Yingsuo 李应梭, 2002, “Zhaoan xian minjian kuilei
tiezhixi 诏安县民间傀儡铁枝戏” [The Iron-stick Folk Puppet Theatre of Zhaoan County], Minsu quyi[Journal of Chinese Ritual, Theatre and Folklore] 136, 113-160.
Yee Sok Kiang 余淑娟, 2010, “Xinjiapo Jiu Li Dong de Mulianxi:
Zhongguo zongjiao yishiju ge-an yanjiu 新加坡九鲤洞的目连戏:中国宗教仪式剧个案研究 [The Mulian Play in Singapore Kiew Lee Tong Temple: A Case Study of
Chinese Ritual Theatre”, Doctoral Disseration, National University of Singapore.
Yeung, Mary Tuen Wai. 2007, “To Entertain and Renew: Operas, Puppet
Plays and Ritual in South China”, Doctoral Dissertation, The University of
British Columbia.
Yin Wentao尹文涛 2017, “Jiyu wenhua lijie de minjian muou yishu xinshang jiaoxue celüe—yi Hainan
Sanjiang gongzaixi muou yishu wei li 基于文化理解的民间木偶艺术欣赏教学策略———以海南三江公仔戏木偶艺术为例”, Xin jiaoyu keyan ban新教育·科研版, General Vol. 345, 88-89.
Yun Wei Li 云惟利, 1987. Hainan fangyan 海南方言, Macau: Dongya daxue.
Yung Sai-shing 容世诚, 1997. Xiqu ren lei xue chu tan: Yishi, juchang yu shequn 戏曲人类学初探:仪式、剧场与社群, Taipei: Maitian chuban gufen youxian gongsi.
________. 2018, “Beidouxi de tianye guancha: Xiniiapo Fujian Putian ren
de yanchu 北斗戏的田野观察:新加坡福建莆田人的演出”, Haineiwai Zhongguo xiju shixuejia Rong Shicheng juan 海内外中国戏剧史家自选集容世诚卷, Daxiang chubanshe.
Yung Sai-shing and Zhang Xuequan 张学权, 1994, “Nanyang de xinghua Mulianxi
yu chaodu yi shi”, Minsu Quyi 民俗曲艺Vol. 92 (1994), 819-852.
Zheng Li 郑莉, “Xinjiapo Xinghua ren de muouxi yu yi shi chuan tong 新加坡兴化人的木偶戏与仪式传统”, Nanyang Xuebao 南洋学报, Vol. 62, 51-72.
Zhongguo xiquzhi bianji weiyuan hui 中国戏曲志编辑委员会, 1998. Zhongguo xiquzhi Hainan
juan中国戏曲志·海南卷, Beijing: Zhongguo ISBN Zhongxin: Xinhua shudian Beijing faxing suo
jingxiao.
Zhou Mi 周密, Wulin Jiushi 武林旧事, Chapter Six “Various types of artistes” (Zhu Se Ji Yi Ren 诸色伎艺人), accessed
https://ctext.org/wiki.pl?if=gb&res=24518&remap=gb.
Website
Bai Bin, Daoism in Graves, in John Lagerwey and Pierre Marson eds., Modern Chinese Religion I, Song-Liao-Jin-Yuan, 960-1368 AD, Brill 2015, 574. Digital museum of glove puppetry, http://folkartist2.e-lib.nctu.edu.tw/collection/palm_drama/pd2/art/InSide3_4.shtml, accessed 26 January 2021. Digital archives of Taiwan, https://catalog.digitalarchives.tw, accessed 26 January 2021.
Instagram Facebook
Copyright
© 2022 Caroline Chia, Jesvin Yeo and Designing Cultures Studio. All rights
reserved.
Supported
by National Heritage Board Singapore, and Singapore Chinese Cultural Centre.