Arts & Cultures
Hungry Ghost Festival: 7 most haunted places in Malaysia and do’s and don’ts during the Ghost Month
During the Hungry Ghost Festival, a month when the netherworld’s door opens, spirits roam freely. People should avoid accident-prone places, outdoor night activities, and be cautious at places with strong ‘Yin’ energy.
Gutzy Asia spoke to a Malaysia-based medium and exorcist, Gao Tian Ba, also known as Golden Dragon King, for advice on do’s and don’ts during the Ghost Month and why some places in Malaysia are particularly haunted.
MALAYSIA: Tomorrow is the start of Hungry Ghost Festival, this month-long period is actually called “Ghost Month”, it starts on the first day of the seventh month of the Chinese lunar calendar when the door to the netherworld, or hell’s gate, opens.
This year it takes place from 15 August to 14 September.
To the Chinese, it is the month of the haunting as they believe that the gates of the underworld will open and allow spirits to roam the world of the living.
The Ghost Month is the time the netherworld rewards well-behaved disincarnate entities; they are allowed to return to human world to visit their loved ones and to enjoy the entertainment and foods arranged for them by humans.
The Hungry Ghost Festival is also a celebration to honour ancestors and relatives.
Gutzy Asia spoke to a Malaysia-based medium and exorcist, Gao Tian Ba, also known as Golden Dragon King, for advice on do’s and don’ts during the Ghost Month and why some places are haunted.
Gao said it is best to avoid places where spirits converge. For example, avoid going to accident-prone places, travelling interstates or internationally, avoid outdoor activities at night, and more.
Various rituals and prayers are observed during the festival, which climaxes on the 14th day of the month. Some devotees follow the rituals in their entirety and to-the-letter, while others are less traditional in their observance.
“Some spirits remain at the place of death even though religious rituals are performed to send these spirits off after their death. This is why some places are haunted.
“Some spirits are reluctant to leave or some unable to leave, because they are waiting for replacement or they have yet to fulfil their last wishes.
“In Chinese culture, we believe every living being has a ‘reincarnation license’. Without this license, one cannot reach the realm of rebirth, making them a stagnating spirit, trap at the places of their deaths.
“Some spirits lost their reincarnation licenses because they were the replacement of other souls.
He said people with low or weak ‘Qi’ (life energy) were often targeted by these restless spirits. This is why people are advised to follow the general do’s and don’ts
“It explains why some people (with low or weak ‘Qi’) are followed or possessed by spirits during the Hungry Ghost Month,” he told Gutzy Asia.
Mimaland Park (1971-1994)
Gao said this recreation park was full of earth and mountain spirits due to its surrounded by forest. He said people could visit the now deserted park but have to be mindful with their conduct.
“When visiting, visitors are advised not to litter, kick or take home stones, flowers, leaves, wood, and anything found in Mimaland. Visitors are as well as are advised to speak with low voice and don’t be noisy.
“When it was still in operation, many accidents happened. Some tourists were suffocated and some died from broken neck when playing in the slides because the land used to belong to the Orang Asal (Indigenous People). There are spirits living in the forest area near Mimaland Park.
“People with weak ‘Qi’ were targeted by spirits, that was why accidents happened. Other lighter symptoms were vomiting and headache. It was not possible to clear the spirits, this was the reason it was closed.
“I was there for a documentary I saw many spirits there including earth spirits and mountain spirits,” he said.
Mona Fandey’s Bungalow
Gao said Mona was a bomoh (witch) and she would keep unborn baby spirits, mountain spirits, and spirits of those she had killed in her former residence.
“Bomoh practice from 8pm to 5pm daily, this is the best time to cast dark magic spell. After Mona’s death, these spirits can never be sent off.
“She raised many types of spirits and used baby spirits to carry out tasks for her. The spirits she had kept there have no one to control them, thus, they are roaming this area since her arrest.
“It is better to not go near this place, normally, white and black witches cast spell to surround their houses to protect themselves.
“From what I understand, Mona killed people and controlled their spirits. She locked their spirits inside mature coconuts or glass bottles to keep them in a realm where spirits are unable to reincarnate,” he said.
Highlands Towers
Gao said victims of Highlands Towers had experienced bewildering, traumatic, and sudden death, hence, would not immediately cross over into the spiritual realm.
“They are left in the physical world because they do not understand their own death. The collapse of the building happened so fast. The residents there died a perplexed death because they were conscious before the tower collapsed, and probably still have awareness before they died,” he said.
He said that even though religious rituals were performed time and again to send these entities off to the spiritual world, but some spirits still linger.
“It is difficult to gather these souls in whole because they are in ‘scattered’ form. These entities were terrified before their death; when a person is terrified before they die, their souls will leave their bodies in scattering form,” he said.
He advised people who visited places like Highlands Towers to bathe with water with glutinous rice, white rice, and cypress leaves.
Jalan 222 Federal Highway
Gao said spirits died from accidents along this stretch, are still wandering around at the roundabout and the junction.
“For many years, this road was busy and accidents happened frequently. Those died from accidents were unable to reincarnate, hence, mystery cases happened at this area.
“Some motorists have seen spirits of adults and children crossing the road while some just stand at the same spot as if they were waiting for someone,” he said.
Bungalow at Jalan Turi Bangsar (where a gruesome murder occurred in 1992)
In spite of the dreadful nature of the crime, the atmosphere in the community, Gao said, the road surrounding the property is safe to use.
“Motorists have to lower the speed of their vehicles as they drive on this road because it is a place where negative energy accumulate,” he advised.
On 23 April 1992, a tragic incident occurred at Jalan Turi. The incident is both eerie and disturbing, involving a gruesome crime and its aftermath.
It is clear that the place holds a haunting and chilling aura due to the horrifying events that took place there.
It involved the murder of the Talwar children and their maid, followed by the conviction and execution of the relief security guard, Ariffin Agas.
The motive behind the crime remains unclear, and suspicions of Ariffin suffering from a psychological disorder add another layer of mystery to the story.
Over the years, the house on Jalan Turi seems to have gained a reputation for being haunted. Passersby claim to have heard the screams of the children and even seen their ghosts.
The alleged difficulty in purchasing, renovating, and rebuilding the property, as well as the house’s eventual demolition, adds to the eerie atmosphere.
Bukit Tunku
Gao said Bukit Tunku has many unoccupied bungalows and roads there are not well-lit, thus, attracting spirits.
“Bukit Tunku is a high-end residential area and a relaxing place. But why it is haunted? Because many bungalows there are unoccupied, many second generations left the bungalows they grew up at. That’s why many bungalows are vacant.
“In addition, many murdered bodies were dumped near the foothill of Bukit Tunku because of the area’s dark and shaded surroundings, it is not a vibrant neighbourhood.
“The properties are build on a hill at Bukit Tunku, it is a place with strong ‘Yin’ (negative energy) element because the dead bodies fluid and blood were absorbed but the plant and earth at the foothill.
Pudu Jail (Pudu Prison)
Gao said evil spirits converge here because the place was a prison where death sentences carried out.
“Although it is now demolished and new buildings are constructed, spirits will always linger here. Normally, Taoists rituals will be performed to cleanse the place, if not perform well by masters with limited knowledge, the place will influence many aspects of tenants and residents.
“Better still, the developer can build a gravestone for them or install several Taoist Gods statues on the top of the roof,” he said.
Do’s and Don’ts
- Don’t lean against the wall, do not walk against a wall, or rest against a wall.
- Avoid buying a house or a car during the Ghost Month
- Don’t hang clothes outside of your house throughout the night
- Don’t ride the last bus or last train
- Avoid going to the hospital
- Avoid swimming activities
Arts & Cultures
Singaporean illustrator Lee Xin Li criticises unauthorised use of his mural in local food court
Singaporean illustrator Lee Xin Li was shocked to find his mural artwork displayed at a Bras Basah Complex food court without his permission. While Shifu Food Court apologised and attributed the issue to contractor oversight, and assured will removed the mural, discussions on Mr Lee’s Facebook post highlighted the broader problems of intellectual property theft, suggesting that silence on these issues only condones such behaviour.
Singaporean illustrator Lee Xin Li (李欣立) was shocked to discover that a copy of his 360-degree illustration, created for his client, Formula 1 Grand Prix in Singapore during the pandemic, was used as a mural in a food court without his permission.
Mr Lee criticised the unauthorised use of his artwork, stating that it was used without any financial compensation, permission, or prior communication.
“To further add insult, the generative ai tech was used to create some mangled mess to my artwork.”
According to Mr Lee’s social media posts, the mural was allegedly displayed at Shifu Food Court, located within Bras Basah Complex, an institution long associated with artists, writers, and members of the creative community.
Expressing his disappointment, Mr Lee called it a sad state of affairs, highlighting the irony of an institution dedicated to the arts committing “art theft,” using AI in a distasteful manner, and crossing the boundaries of client-creator relationships by taking his commissioned project without consent.
Mr Lee Criticises Bras Basah Complex’s Response, Highlights Public Promotion of Unauthorized Artwork
After reaching out to Bras Basah Complex to request the removal of the artwork, the institution responded via Facebook, issuing an apology.
Bras Basah Complex clarified that its Merchants Association is a volunteer group assisting merchants in fostering community spirit.
The association explained that the complex does not have a central management system, unlike modern malls managed by REITs, and that each shop is privately owned, meaning they have no authority over individual shop operations.
“As this happened in a private establishment and privately owned property, we had no preview and purview until its opening. ”
“Nonetheless we have reached out to the owner of this establishment and hope he will reach out to you to resolve this,” the group told Mr Lee.
However, Mr Lee expressed dissatisfaction, stating that this explanation did not sufficiently address the issue, particularly given the food court’s prominent public location.
He also pointed out that Bras Basah Complex had shared news of the newly renovated food court on its social media platforms.
Shifu Food Court Claims Unawareness of Unauthorised Artwork, says Interior Design Outsourced to Contractor
The food court later responded to Mr Lee’s Facebook post, claiming they were unaware of the unauthorised use of his artwork, as the interior design had been entirely outsourced to a contractor.
They assured him that an investigation would be conducted and that, if the claim was accurate, the mural would be taken down immediately.
Shifu Food Court also clarified that the murals outside the establishment were created by students and alumni from Nanyang Academy of Fine Arts (NAFA), and proper credit was given to them.
However, Mr Lee emphasised that the food court should have communicated more clearly.
While they clarified that the outdoor murals were by NAFA, the mural inside featuring his artwork was the contractor’s doing.
In a follow-up comment, Shifu Food Court issued an apology, explaining that they were unaware the mural inside included Mr Lee’s artwork and assured him it would be removed promptly.
In a Facebook post on Wednesday, Mr Lee expressed his gratitude to his followers for sharing the incident and raising awareness. He also hoped the issue would be resolved soon.
He noted that both Bras Basah Complex and Shifu Food Court have not reached out to him in other ways except on social media comments.
He further clarified that NAFA was an innocent party mistakenly dragged into the issue due to Shifu Food Court’s earlier social media posts, which credited all murals, including those inside, to NAFA.
Mr Lee reiterated that the NAFA students did an excellent job with their own murals, and their artwork was unrelated to the dispute.
Comments Highlight Broader Issues of Respect for Artists’ Intellectual Property Rights
In Mr Lee’s Facebook comment section, supporters and fellow artists discussed broader issues within Singapore’s art community.
Theatre artist Khoo Ee Hoon raised concerns about contractors assuming full responsibility for “borrowing” creative artwork without offering compensation or obtaining permission.
Another comment pointed out a dismissive attitude toward intellectual property (IP) theft, sarcastically stating that it’s not considered stealing if one claims to “borrow” ideas and “improve” upon them.
He emphasised that mindless and habitual IP theft and plagiarism are serious problems, suggesting that silence on these issues only condones and perpetuates such behaviour.
In response, Mr Lee lamented in the comment section that a mainstream media personnel once told him regarding an intellectual property issue he faced: “We didn’t know we needed to credit the artist.”
One comment suggested that if the contractor or subcontractor is not publicly named and held accountable, such practices will continue and become normalised.
Mr Lee responded by reflecting on the culture in Singapore, noting that, from his observations during his illustration journey, there seems to be a lack of accountability among parties involved in similar situations.
He emphasised that shame appears to be an alien concept for these individuals, who often proceed with the intent to avoid detection and feign ignorance if caught.
Mr Lee responded by reflecting on the culture in Singapore, noting that, from his observations during his illustration journey, there seems to be a lack of accountability among parties involved in similar situations.
One supporter suggested that Shifu Food Court should commission Mr Lee to create an original mural for the wall and have the person responsible for stealing the art pay for it.
In response, Mr Lee recommended that Shifu should seek a refund from the contractor, as some contractors hold the service provider accountable for ensuring intellectual property (IP) rights are properly cleared.
He also mentioned that he wouldn’t be interested in working on the mural, as the experience had tarnished his memories of Bras Basah Complex.
Daniel Yap, former publisher of the socio-political news site The Middle Ground, criticized Shifu Food Court in a Facebook post, stating that while they blamed the contractor, they are still clearly at fault for failing to secure copyright clearance from Mr Lee.
Arts & Cultures
Netizen exposes false historical facts in 2019 dance-drama production Organized by Singapore Chinese Cultural Centre
A netizen has recently criticized a 2019 dance-drama production commissioned by The Singapore Chinese Cultural Centre, highlighting various historical inaccuracies.
One notable claim questions the origin of the name Singapura, suggesting it stemmed from Sang Nila Utama witnessing a Chinese Lion dance in Temasek.
SINGAPORE: A Malay netizen has turned to social media to question whether The Singapore Chinese Cultural Centre is attempting to overly emphasize the Chinese aspects of Singapore’s history.
This critique centres on the identification of several historical inaccuracies within a dance-drama production.
The netizen, who goes by the name Fikrah Siyasah on Facebook, raised concerns about a dance-drama production titled “Whispers From The Dragon’s Teeth Gate,” commissioned by the Singapore Chinese Cultural Centre (SCCC).
Upon checking the SCCC official website, the dance-drama, performed on April 20, 2019, claimed to “rediscover the enthralling tale of Singapore’s transformation from an island of immigrants to a nation forged by our multi-ethnic cultures”.
“Over four acts, the performance brings the audience on a journey 700 years back in time – from the legendary voyage of Sang Nila Utama and the discovery of the Dragon’s Teeth Gate, to the progress of Temasek as it transforms into the metropolitan city known as Singapore as today. ”
The production also boasts an ensemble of international experts across various fields, including Singaporean historian Mr Kua Bak Lim (柯木林), Cultural Medallion and Singapore Chinese Cultural Contribution Award recipient and playwright Mr Han Lao Da (韩劳达), esteemed Indonesian choreographer Didik Nini Thowok, and Peranakan costume designer Raymond Wong.
Did Sang Nila Utama witness a Chinese Lion Dance in Temasek?
In a recent Facebook post, Fikrah Siyasah voiced his critique of the dance-drama production, highlighting numerous historical inaccuracies in its portrayal of the origin of the name Singapura.
This includes the assertion that the name Singapura originated from Sang Nila Utama, the legendary founder of Singapore, witnessing a Chinese Lion dance in Temasek.
Moreover, in an article provided by the Singapore Chinese Cultural Centre (SCCC) to a local media outlet, Smart Local Singapore, in 2019 to introduce the drama, the article also claimed that historians are attributing the origin to Sang Nila Utama’s sighting of a Chinese traditional lion dance.
Mr. Siyasah remarked, “They claimed that this silly idea, which has no historical basis, is now getting acceptance from historians.”
He further pointed out that the article asserted that Singapore’s original name was not Temasek but rather the decidedly Chinese name Long Ya Men (龙牙门) or Dragon Teeth Gate.
In his post, Mr Siyasah said the name Long Ya Men was derived from a Chinese traveller’s account of his 14th-century visit to the island.
Wang Da Yuan (汪大渊) indeed referenced the Dragon Teeth Gate, which is, in reality, Batu Belayar.
However, Mr Siyasah contended that Wang did not refer to the entire island as Long Ya Men.
Instead, Wang referred to the island as Tanmaxi (淡马锡) – Temasek.
“The gate he referred to was just an area within Temasek. It was not the original name for Temasek.”
The netizen challenging efforts to rewrite Singapore’s history with a Chinese focus
Mr Siyasah criticized the Singapore Chinese Cultural Centre’s apparent intent to establish the idea that Singapore once had a Chinese name.
He pointed out that there were other names that predated Temasek. Arab travellers in the 9th century, which was 400 years before Wang Da Yuan’s visit, referred to the island as Mayt.
Mayt served as a hub for international shipping, with ships from the Malay archipelago, China, India, and the Middle East making stops in Mayt (Singapore) to exchange goods.
Coincidentally, there is a theory suggesting that Sentosa’s former name, Pulau Blakang Mati, was a reference to the name Mayt used for Singapore, as Sentosa lies to the north of Mayt.
There is also a belief that 800 years before it was known as Mayt, Singapore was known as Sabara. Sabara, which is at the southern tip of the Malay peninsula, was also known as a centre for international trade.
“Singapore’s international shipping and trading history is not new. Its status for international trade did not begin with Raffles. And it definitely was not due to Lee Kuan Yew or his group of colonial settlers.”
He strongly condemned the Singapore Chinese Cultural Centre’s efforts to reshape Singapore’s history with a predominant Chinese perspective, characterizing it as “regrettable.”
Furthermore, Mr Siyasah highlighted that the Sinification of Singapore’s history is not an isolated incident but has been occurring over an extended period.
Challenging the ruling party’s historical narrative
In another Facebook post on 13 September, Mr Siyasah also took issue with the Singapore ruling party’s historical narrative to “downplay Malay native history” and present Singapore as a nation of migrants from various ethnic backgrounds.
Fikrah Siyasah mentions that, despite Singapore’s constitution recognizing Malays as the indigenous people of the country, PAP leaders and Chinese elites often referred to Singapore as a nation of migrants, arguing that there was no native, indigenous culture.
This erasure of Malay native history was further perpetuated by a documentary produced with support from the Singapore government during the SG50 celebration, which suggested that Sang Nila Utama named the city “Singapura” or “Lion City” after witnessing a Chinese lion dance performance.
He criticizes this narrative as an attempt to embed Singapore with Chinese history and notes that it has gained traction within the Chinese community.
Readers can view the complete recorded performance of the dance-drama “Whispers From The Dragon’s Teeth Gate,” which Mr Siyasah criticized in his remarks.
Singapore ranked second most influenced by China in the world
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The study revealed that Singapore is particularly vulnerable to Beijing’s influence in areas such as technology, society, and academia, although it is less affected in terms of domestic politics.
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