The Hungry Ghost Festival

By Tewfic El-Sawy

October 11^th, 2018

The Hungry Ghost festival

In various Asian regions and countries, it is believed that ghosts roam the earth for the entire seventh month of the lunar calendar. During that month, the gates of hell open and ghosts emerge to haunt the living.

Observed by the Chiu Chow community and others, the festival evolved into an event to appease these malignant ghosts and make offerings to ancestors.

It is believed the festival's roots go back more than 2,000 years. In Taoism, the festival falls on the birthday of Lord Qingxu, the celestial official of earth. This deity’s role is to judge the deeds of the living, who pray for his forgiveness during the ghost month, when he also releases the deceased from suffering. In Buddhism, the festival is associated with Mulian, a chief disciple of Buddha, who sought to appease the spirit of his mother, who had been reborn in the hungry ghost realm of hell.

The Hungry Ghost month is listed as part of China’s intangible cultural heritage.

In early September 2018, I travel to Penang (Malaysia) and Hong Kong to photograph the Chinese operas held to appease these malignant ghosts. The Hong Kong Chiu Chow community has observed the month for more than 100 years by hosting events in many parts of the city, including a festival, lion dances and Chinese opera performances.

In Hong Kong's Kowloon district, I came across large makeshift structures erected in King George V Memorial Park to host the events that would take place over the next 3-4 days/evenings.

Most of the religious rituals occur on the 15th day of the lunar month, with Buddhist (and Taoist) monks performing prayers at the temples. One of the most intriguing rituals is Rituals are performed before the start of most Chinese street opera shows.

One of the most popular rituals for the street operas is the rite of "The Heavenly Consort Presents a Child" where the Heavenly Consort (one of the Seven Fairies) in the person of a made-up and costumed actress, descends from the stage, bearing her "child", Hai Ji, represented by a wooden doll in her arms. The doll is dressed in red, and represents the godly essence of theatre in a wooden image.

Bearing the wooden doll, the "Heavenly Consort" hands the doll to the temple or shrine keeper who places it on the main altar where it will sit for the duration of the show. The doll (child-god) will watch over the evening's performance to ensure that nothing goes wrong.

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