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If you’ve ever passed by a tented stage blaring Hokkien hits under a block of flats in August, you’ve probably witnessed getai (歌台).
Literally meaning “song stage,” getai is a uniquely Singaporean expression of the Hungry Ghost Festival, where elaborate live performances are staged outdoors to entertain both the living and the dead.
But how did this month-long concert tradition emerge — and how has it changed with the times?
Let’s take a walk through the history of getai in Singapore.
The Hungry Ghost Festival — or Zhong Yuan Jie (中元节) — is traditionally a time when Taoist and Buddhist communities believe the gates of the afterlife open. Spirits are free to roam the mortal world for a month, and rituals like joss paper burning, food offerings, and stage performances are carried out to appease them.
Before getai, Chinese opera and glove puppet shows were performed in dialect (like Hokkien and Teochew), often near temples and kampong homes. These were part religious ritual, part communal event. And just like today, the front row of seats was always left empty — reserved for the spirits.
Before modern getai, Chinese opera (wayang) and puppet shows were performed during Zhong Yuan Jie (Hungry Ghost Festival) in Singapore—often near temples or in kampongs. These performances soothed ancestors and entertained spirits during the 7th lunar month.
Getai first appeared around 1942–45 in New World amusement parks, not as religious rites but secular entertainment during wartime. Performers included diverse nationalities, and the format attracted crowds seeking respite during difficult times. These early shows featured Mandarin songs (English songs were banned) and multi-instrument bands.
During the colonial-era and early post-war years, gewutuan (“song‑and‑dance troupes” from Shanghai) introduced variety acts—dance, magic, cross-talk—to Singapore, influencing early getai formats.
Although getai existed as popular shows since the 1950s, its formal association with the Hungry Ghost Festival began in the 1970s. As Chinese opera waned, temple and community groups adopted getai during Zhong Yuan Jie to entertain both spirits and residents in HDB estates.
This shift was practical: getai was shorter, music-driven, and easier to produce than full operas. It became a community fundraiser, spiritual offering, and nightly social entertainment all at once.
Many well-known getai artistes rose in fame during this era, bridging pop culture and folk tradition.
As Singapore modernised, so did getai.
COVID-19 accelerated the rise of e-getai — getai shows live-streamed on YouTube, Facebook, and even Douyin (Chinese TikTok).
These virtual stages allow organisers to reach wider, younger audiences, while still upholding traditional beliefs. Though some lament the loss of atmosphere, others embrace it as a way to keep 7th Month relevant for the next generation.
Today, many getai shows in Singapore are hybrid — performed live and streamed online.
In an increasingly fast-paced, secular Singapore, getai serves a unique role:
