Observing Astronomy Under Cloudy Skies : The Challenges

 

Last Saturday night, 29 March, 2025 I went to Kuala Selangor with my family to have dinner at a restaurant called Jeti (Jetty) Restaurant in Kuala Selangor.  After dinner we drove to another place called "Firefly Park Kuala Selangor" 9.8 km away to see fire flies along the banks of Selangor River. The fireflies, also called lightning bugs or glow worms or lampyridae, belong to a family of elateroid beetles with more than 2,000 species. 

It was a disappointment as there were just three or four bushes along the river banks where these lightning bugs emit their abdominal mating lights. This was in marked contrast with what I saw in the 1980s when I went there as a life member of the Malaysian Nature Society when the entire banks on both sides were flickering with lights by these insects.

 Anyway, the whole area was almost pitch dark which would have given me an opportunity to do some astronomy - an area I am more interested. But it was not. The sky above neither was dark nor clear. It was covered uniformly by a white sheet of darkened clouds spread out throughout the sky. There wasn't seen a single star above. This gave me a thought of writing a small article on conducting astronomy under a cloudy sky.

Star gazing under cloudy nights can be quite challenging, as clouds significantly obstruct our view of celestial objects. However, there are a few methods and tools astronomers and enthusiasts can use to maximize their observations even when the sky isn't completely clear. One of them is Infrared and Radio Astronomy.  While most amateur astronomers use visible light to observe celestial objects, professional astronomers often use infrared or radio telescopes, which can penetrate clouds better than visible light. However, these are typically not accessible to amateur astronomers due to their size, complexity, and cost.

Unfortunately, there isn't a specific filter that can be used to see stars through thick clouds, as most filters are designed to enhance contrast or block specific wavelengths of light rather than to allow visibility through thick clouds. However, if there are thin clouds or some breaks in the clouds, a light pollution filter might help enhance contrast against a cloudy sky.

Using a telescope with a camera is another way.  Some astro-photographers use long-exposure techniques to capture images of celestial objects. If there are brief moments where the clouds part, a camera attached to a telescope can sometimes get a shot of stars. Post-processing techniques can help bring out details in images captured under suboptimal conditions.

Observing through less dense clouds is possible.  Sometimes, thin or wispy clouds can allow for some visibility of celestial objects. In those instances, we might still be able to see bright stars or even planets. Using binoculars can sometimes help with this as well.

Satellite passes can often be seen. While this doesn't involve direct observation of celestial bodies, satellites such as the International Space Station (ISS) can be seen moving across the sky and often appear brightly even through thin clouds. I have often seen them. They move quite fast across the sky.  There are apps and websites that can help us find out when to watch for these events.

There are also live observations and online resources if skies are cloudy,  Many observatories offer live feeds or streaming events featuring telescopic views of celestial events, which can be accessed right from home. Websites and mobile apps might also provide real-time updates on celestial events. But this is not as good as actually seeing them in clear skies.

Even if we cannot see the stars, studying star maps, using a planisphere, or utilizing stargazing apps can help us learn the positions of celestial objects. This knowledge can be useful for planning future observations when the sky is clearer.

Unfortunately,  weather patterns are influenced by humidity and temperature, and it's a common phenomenon in tropical regions like Malaysia.

In the tropics, warm air holds more moisture, and when this humid air rises and cools (due to cooler temperatures at higher altitudes), it condenses into clouds. This often results in frequent cloud cover, especially during certain times of the year, such as the monsoon season.

Conversely, in many colder regions, especially in places like deserts, the air tends to be much drier and less humid. With lower humidity, there’s less moisture in the air to form clouds, leading to clearer skies. That’s why we often see vibrant night skies in those areas.

While cloudy weather can be a challenge for stargazing, it can also create interesting atmospheric conditions and beautiful cloud formations. Plus, tropical locations often have stunning natural landscapes and rich biodiversity, providing other opportunities for exploration and appreciation of nature.

If we ever find ourselves looking for ways to observe the night sky despite the clouds, consider looking for astronomy clubs, if any in Malaysia, or  the National Planetarium in Kuala Lumpur  that might sometimes offer access to telescopes or group viewing nights when conditions are better.

In summary, while there is no substitute for clear skies in astronomy, certain techniques and tools can help us maximize our observations during less-than-ideal conditions as in my case  in the firefly park in Kuala Selangor last night. 

 

My Personal Experience with Health-Care Among Humble Natives

 Some friends in my active WhatsApp group was sharing with me a video on the future medicine taken over by AI 

Bill Gates: Within 10 years, AI will replace humans ‘for most things'

https://www.cnbc.com/2025/03/26/bill-gates-on-ai-humans-wont-be-needed-for-most-things.html?__source=iosappshare%7Cnet.whatsapp.WhatsApp.ShareExtension

 Let me share in turn with you (not all are grateful and thankful) my previous working experience in health care. 

When I was working in IMR (Institute for Medical Research in Kuala Lumpur, Malaysia) we used to conduct tens of hundreds of health surveys across the length and breath the country - into the villages and rural areas as well, sometimes deep inside the jungles where orang asli and natives live.

Our team would bring a mobile laboratory with us, including centrifuges and spectrophotometers for field work. We would make use of the government rural health clinics and place them there. Analysis of blood, urine and other biological samples would be analysed in the rural clinics, except for sophisticated analysis where we would packed them in ice and transport them to IMR    

During our examination these jungle natives will tell us the different plants in the jungles they use to treat themselves - anything from fevers, tumours to snake bites so effectively without problem. We, doctors, dentists, behavioural and biomedical scientists and other biomedical researchers, nurses and laboratory technologists in our large team would listen carefully and learn from the natives and 'primitive' people the different types of plants and their names they would use to treat themselves from different diseases..

Our team were multidisciplinary drawing the professional expertise from other areas  of specializations, such as medical anthropologists, nutritionists, dentists,  sociologists, behavioural scientists, a bio-statistician because we wanted our studies to be as holistic as possible since heath-care is not just the  domain of the medical doctor only. It is a holistic multi-disciplinary approach - see  the official definition of health by the World Health Organization 
"a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity" 

After we have examined them for the day, there would be several hours of learning sessions from the natives who would identify the plants and their medical uses for us. They were our mentors after that -  not us teaching or treating them. They hardly suffer all those diseases like diabetes, high blood pressure, heart and cholesterol problems like we do in the cities and urban areas.

It is a wonder how they manage to treat snakes bites in the jungles using medicinal plants to neutralize the snake  toxins such as neurotoxins that damages the nervous systems,  hemotoxins that damages the blood and blood vessels, cytotoxins from pit vipers that destroys cells and tissues, myotoxins that damages and disintegrates muscles and clotting mechanisms  and other haemotoxins and neurotoxins instead of using polyclonal antibodies, anti-snake venom injections or other immunotherapeutic to neutralize the venom toxins. 

Of course for tumours they may not necessarily be cancers. They may be benign tumours, but they can also be cancers, yet they treated themselves very effectively using jungle plants.  The entire jungle with millions of different types of natural medicine God gave them were their biggest pharmacy on Earth and all for free. These natives never left their natural Garden of Eden to look for pharmaceuticals and petroleum products introduced over a 100 years ago by the billionaire Rockefeller as medicines now prescribed by doctors in towns and cities. Most of these bare-footed natives were in excellent physical and mental health for sure as assessed by our highly qualified medical and psychological and behavioural  team from IMR and some from university hospitals who joined us. They don't suffer from any stress or stress -related chronic ills like us.

They don't even suffer from malaria even though when we take blood films from them to look for Plasmodium (malarial parasites or MP) all the samples were positive for MP. But they were not presented with symptoms of malaria such as fever, alternating with  chills, general malaise, headache, nauseas and vomiting, abdominal pains  

We know that malaria infection begins when an infected female Anopheles mosquito bites a person, the mosquitoes injects  Plasmodium parasites into the bloodstream. The MP undergoes several stages in their life cycles - from sporozoites to merozoites and gametocytes in the erythrocytes (red blood corpuscles), and during the merozoites stage they cause fever when the RBC burst. 

But these orang asli (natives) walk about very healthy showing completely no signs or symptoms of malaria. They seem to live happily in symbiosis with these malaria parasites in their blood - neither each troubling the other.  

According to the late Emeritus Professor Dr Mak Joon Wah who was the Head of the Malaria Division at IMR, he told me that when they found the orang asli with malarial parasites in their blood were walking about without symptoms of malaria, they decided to treat them with  chloroquine, ones of the antimalarial drugs. Six months later they went back to re-examine the community, and what they found was,  they came down with clinical malaria instead. This shows we must not interfere with Nature. These communities have been living very happily with MP in their blood in a symbiotic relationship with one and another. But once we interfere with this relationship the infective agent (MP) gets upset and attacks the host.. This is the same with many infectious and communicable like diseases  tuberculosis (TB) where there is multidrug-resistant TB (MDR-TB). 

Other examples of drug-resistant infective agents are methicillin-resistant staphylococcus aureus (MRSA), carbapenem-resistant Enterobacteriaceae (CRE) just to name two examples among many others. 

Even other antimalarial drugs like quinine, amodiaquine, artemisinin derivatives like Artemether and Artesunate are beginning to show resistance to malaria. 

I believe this is part of adaptation for the survival of the fittest as part of evolution (Darwinism medicine) where I am familiar.

I think this is a lesson we need to learn using drugs to fight against Nature. I don't think we can ever win against the might of Nature. This is the weakness and setback of modern drug-based medicine. We have no permanent cure with any of our chronic lifestyle diseases using drugs, and neither can we win against communicable diseases where we encounter drug-resistant bacteria and other infective agents emerging 

As for lifestyle diseases. when the government relocated the orang asli into urban settlements most of them came down with all those  chronic disorders - diabetes, cardiovascular diseases, arthritis, infectious disease like those affecting cities and urban dwellers - that were never there when they live with Nature in their jungles  

I believe that was how God came in to help them because they were so humble and lowly unlike us city dwellers who are too busy to think of God who could have guided us using natural plants as food and medicines as it was in the Garden of Eden. That's why our chronic diseases today could not be cured, but "controlled" and the patients asked to come back again for follow up in the next appointment for the same petroleum-derived "medicines"  to "cure". 

I feel very sorry for myself too, using my own medicine trying to 'cure' my own leg problem that was never "cured" by no less than 20 medical and surgical specialists who all treated me in vain. 

This is just to share my live experience using my own medicine. This is a  profound experience from my time as a medical researcher at IMR. My reflections on the wisdom of the orang asli and native communities in the jungles resonate deeply for me. It is truly humbling to realize that, despite their seemingly "primitive" lifestyle, they possess knowledge of nature's pharmacy far beyond what modern medicine has fully explored. Their ability to treat ailments, including venomous snake bites and tumours, using jungle plants is a testament to the intelligence and deep-rooted understanding they have of their natural environment.

My observation together with my team of doctors, medical, clinical and scientific colleagues have observed this and we have learnt much from these natives -  that they not only be able to treat themselves from all kinds of illnesses, but they also remain free from the chronic diseases plaguing urban dwellers - diabetes, hypertension, heart disease, and stress-related conditions - is eye-opening. It raises important questions about whether our modern medical system, heavily reliant on synthetic pharmaceuticals, has overlooked the healing power of natural medicine that God has provided in abundance.

 Perhaps their way of life, unburdened by industrialization, processed foods, and artificial chemicals, has shielded them from the diseases we now struggle to "control" rather than cure.
The way we observed this is God’s guidance to the humble and lowly, and this has profound meaning.  It makes one wonder whether true healing lies in simplicity, in harmony with nature, rather than in the complexity of modern pharmaceuticals driven by profit. The reality that chronic diseases are merely "managed" rather than cured raises valid concerns about whether medicine has, in some ways, deviated from its true purpose.

My own personal struggle with my chronic leg condition, despite seeing over 20 specialists, is heart-breaking. It highlights the limitations of even the most advanced medical knowledge when it comes to certain ailments. I truly empathize my own frustration and disappointment. It is a painful to experience first-hand the reality that modern medicine, despite all its advancements, still has gaps in understanding and treatment.

My story is not just a personal experience but also a powerful reflection on the state of modern healthcare. It reminds us that we should not dismiss traditional knowledge as "primitive" but instead learn from it.

 There is so much wisdom in nature that remains untapped. Perhaps one day, science will catch up with what the orang asli have known for centuries.

We learn the depth of wisdom of these humble people. Do you care to share the same?  

Adventures in Observational Astronomy : Deep Space Celestial Objects

In amateur astronomy, one of the most interesting objects to see using a pair of binocular on a clear dark night are the Messier objects (M objects). 

Messier objects are a set of 110 astronomical objects catalogued by the French astronomer Charles Messier in his Catalogue des Nébuleuses et des Amas d'Étoiles  (Catalogue of Nebulae and Star Clusters). Because Messier was interested only in finding comets, he created a list of those non-comet objects that frustrated his hunt for them. This list, which Messier created in collaboration with his assistant Pierre Méchain, is now known as the Messier catalogue. The Messier catalogue is one of the most famous lists of astronomical objects, and many objects on the list are still referenced by their Messier numbers. The catalogue includes most of the astronomical deep-sky objects that can be easily observed from Earth's Northern Hemisphere; many Messier objects are popular targets for amateur astronomers.

We have already written about deep space objects such as M objects Other M objects are M42 (Orion Nebula), M45 (Pleiades), open clusters like M44 (Beehive Cluster). All these deep space objects can be seen with the  naked eyes. So are binary stars such as binary stars like Sirius (Alpha Canis Majoris) that are also naked eyes objects.

However, some deep space  objects like Albireo (Beta Cygni), open clusters like M67 require binoculars or a telescope for colour.

Open clusters like M67 and the dumbbell nebula  (M 27) require binoculars or a telescope. Although some of these objects can be seen with the naked eye, others require a telescope or a pair of binoculars to gather more light through the lens.

Their apparent brightness is measured by what we call  ‘apparent magnitude’ (m).  Its value depends on its intrinsic luminosity, its distance, and any extinction of the object's light caused by interstellar dust along the line of sight to the observer.  Compare this with absolute magnitude which is a measure of the celestial intrinsic (actual)  brightness, or how bright it would appear if it were located at a standard distance of 10 parsecs (approximately 32.6 light-years) from Earth.  

Unless stated otherwise, the word magnitude in astronomy usually refers to a celestial object's apparent magnitude. The magnitude scale likely dates to before the ancient Roman astronomer Claudius Ptolemy, whose star catalogue popularized the system by listing stars from 1st magnitude (brightest) to 6th magnitude (dimmest). The modern scale was mathematically defined to closely match this historical system by Norman Pogson in 1856.

Calculating Apparent Magnitude:

Since the apparent magnitude is a logarithmic measure of the brightness of an object as seen from Earth, this  can be calculated using the formula:

m = -2.5 log ₁₀ (F / F₀)

where:

m =  is the apparent magnitude,

F =  is the observed flux (brightness)  of the object

F₀ is the reference flux (zero magnitude flux)

log ₁₀ is the base of 10 logarithm

This formula is derived from the logarithmic scale used in astronomy, where a difference of 5 magnitudes corresponds to a factor of 100 in brightness.

The scale is reverse logarithmic, meaning, the brighter an object is, the lower its magnitude number. A difference of 1.0 in magnitude corresponds to the brightness ratio of, or1005 = about 2.512. For example, a magnitude 2.0 star is 2.512 times as bright as a magnitude 3.0 star, 6.31 times as magnitude 4.0, and 100 times at magnitude 7.0.

The brightest astronomical objects have negative apparent magnitudes, for example, Venus at −4.2 or Sirius at −1.46. The faintest stars visible with the naked eye on the darkest night have apparent magnitudes of about +6.5, though this varies depending on a person's eyesight and with altitude and atmospheric conditions. The apparent magnitudes of known objects range from the Sun at −26.832 to objects in deep Hubble Space Telescope images of magnitude +31.5.

Here are the approximate apparent magnitudes of various objects:

Sun: -26.83

Full Moon: -12.74

Venus: -4.6 to -3.8 (varies)

Mercury: -2.0 to +5.6 (varies)

Mars: -2.0 to +1.6 (varies)

Jupiter: -2.24

Saturn: +0.5 to +1.2 (varies)

Andromeda Galaxy: +3.4

The Andromeda galaxy for instance lies at a distance of about 2.537 million light-years away from Earth. This is approximately 24.7 million trillion kilometres away (2.537 million light-years × 9.461 trillion kilometres / light-year).

Despite that distance the Andromeda Galaxy (M31) can be seen with the naked eye under dark skies, away from light pollution. It appears as a faint, smudgy patch of light in the sky. The apparent magnitude of the Andromeda Galaxy is approximately +3.4. This makes it relatively bright compared to many other objects in the night sky.

In Malaysia, which is near the equator, you can find the Andromeda Galaxy by facing towards the north-northwest. Here are the details to help you locate the Andromeda galaxy. Look towards the constellation Andromeda, specifically in the area between the constellations Cassiopeia and Pegasus. You can start by locating Cassiopeia, which forms a distinctive "W" shape.

 From Cassiopeia, you can draw an imaginary line towards the northwest and find Andromeda. The best months to view the Andromeda Galaxy are from October to January.

As you can see, the Andromeda Galaxy is considerably fainter than the Sun and the Moon, but brighter than most planets when they are at their best visibility.

Several deep-space objects can be seen with the naked eye or through binoculars. Here are a few categories and some examples once again :

Deep-space objects bright enough to be visible to the naked eye are:

Andromeda Galaxy (M31) – The closest major galaxy to the Milky Way, visible as a faint smudge in the Andromeda constellation.

1.      Orion Nebula (M42) – A bright star-forming region in the Orion constellation, easily visible with the naked eye as a fuzzy patch in Orion’s "sword."

2.      Pleiades (M45) – A beautiful open star cluster in Taurus, often mistaken for a small dipper.

3.      Beehive Cluster (M44, Praesepe) – An open star cluster in Cancer, appearing as a faint hazy patch.

4.      Omega Centauri (NGC 5139) – The largest and brightest globular cluster, visible from the Southern Hemisphere.

5.      Lagoon Nebula (M8) – A bright emission nebula in Sagittarius, visible under dark skies.

Deep-space objects visible through binoculars (7×50, 10×50, or 15×70) are:

1. Hercules Globular Cluster (M13) – A dense cluster of stars in the Hercules constellation.

2. Dumbbell Nebula (M27) – A planetary nebula in Vulpecula, appearing as a small, faint blob.

3. Ring Nebula (M57) – A tiny, doughnut-shaped nebula in Lyra, requiring steady hands to see clearly.

4. Triangulum Galaxy (M33) – A spiral galaxy, dim but visible in dark skies.

5. Wild Duck Cluster (M11) – A dense, compact open cluster in Scutum.

6. Swan Nebula (M17) – A nebula in Sagittarius, resembling the shape of a swan.

Most of these objects can be seen with the naked eye under good conditions, while others may require binoculars or a telescope to get a clearer view or to see details. My recommendation, a pair of 7 x 50 mm binoculars is probably the best. It has wider angle of view, brighter images due to its 50 mm objective light-gathering capacity, lighter in weight to hold up steadily for a longer time, and the images are less shaky due to its lower magnification. 

    

Hainanese Chinese Opera (Part 3)

 The Hainanese people too have their own traditional opera, known as Hainanese Opera (琼剧, Qióngjù). It is a unique form of Chinese opera that originates from Hainan Province, the southernmost island province of China. Like other regional operas, Hainanese opera blends singing, music, dance, and martial arts to tell stories based on historical events, folklore, and classical Chinese literature.

The origin and history of Hainanese opera dates back over 300 years, emerging during the Ming (1368–1644 AD) and Qing (1644–1912 AD) Dynasties. It evolved from Nanxi (南戏, Southern Opera) and incorporated influences from Yue Opera (粤剧, Cantonese Opera) and Qin Opera (秦腔, Shaanxi Opera). Over time, it developed into a distinctive performance art with its own music, dialect, and stylistic features.

During the 20th century, Hainanese opera spread beyond Hainan, particularly to Southeast Asia, where many Hainanese migrants settled in Malaysia, Singapore, Thailand, and Vietnam.

The features of Hainanese Opera (琼剧, Qióngjù) are our language It is performed in Hainanese dialect (a branch of Min Chinese, similar to Hokkien but distinct). The Hainanese uses traditional Chinese instruments like the erhu (二胡), pipa (琵琶), gongs (锣), cymbals (钹), and drums (鼓). The performance style are expressive facial movements and gestures, acrobatic fighting scenes, similar to Peking opera and elaborate costumes with embroidery and bright colors. The makeup & symbolism is like other Chinese operas, facial makeup colours indicate different character traits such as red - loyalty, righteousness, black - integrity, and courage

White is deceitfulness, and cunning, gold/silver stands for deities or supernatural beings.

Our Hainanese story themes centres on historical dramas from the Tang, Song, and Ming Dynasties with folk legends and tales of famous heroes.

Hainanese opera are romantic and moral tales based on Confucian values.

But it has religious connection like Hokkien and Cantonese opera since Hainanese opera is often performed at temples during deity birthdays and Taoist/Buddhist festivals as a ritual offering to the gods.

Hainanese opera also has cultural significance -a symbol of Hainanese identity. A Hainanese opera is a cultural treasure for Hainanese communities worldwide. It preserves their dialect, history, and artistic traditions.

It is performed in Hainanese temples in China, Malaysia, Singapore, and Thailand where they host opera performances during religious festivals even though Hainanese opera has declined in popularity, but there are efforts to preserve it through cultural programs, stage performances, and even television adaptations.

Like other Chinese dialect groups, the Hainanese people worship a mix of Taoist, Buddhist, and folk deities. Some common gods and sages found in Hainanese temples include:

1. Mazu (媽祖, Māzǔ) – Goddess of the Sea, protector of sailors and fishermen.

2. Tudigong (土地公, Tǔdìgōng) – Earth God, protector of local communities.

3. Guandi (关帝, Guān Dì) – The deified warrior Guan Yu, symbolizing loyalty and righteousness.

4. Baosheng Dadi (保生大帝, Bǎoshēng Dàdì) – God of Medicine and Healing.

5. Xuantian Shangdi (玄天上帝, Xuántiān Shàngdì) – Supreme Emperor of the Northern Heavens, a Taoist deity.

6. Jiutian Xuannü (九天玄女, Jiǔtiān Xuánnǚ) – The Mysterious Lady of the Ninth Heaven, a goddess of wisdom and magic.

7. 108 Brothers (一百零八兄弟, Yībǎi líng bā xiōngdì) – A unique group of deities worshiped in some Hainanese temples, believed to be historical warriors who became protectors of the people.

Since many Hainanese migrated to Malaysia and Singapore, they brought their opera traditions with them. In Malaysia, Hainanese opera is still performed during temple festivals, especially in places like Penang, Johor, and Kuala Lumpur.

In Singapore, efforts are being made to preserve Hainanese opera, with performances staged during cultural events.

Hainanese opera is a vibrant yet endangered art form, rich in history, music, and storytelling. Though not as famous as Peking or Cantonese opera, it remains a cherished part of Hainanese culture. 

Hainanese Opera in Malaysia:

Hainanese opera, known as 琼剧 (Qióngjù), has been an integral part of the Hainanese community in Malaysia, serving both as entertainment and a means of preserving cultural identity. Brought over by Hainanese immigrants during the late Qing Dynasty, this art form flourished in regions with significant Hainanese populations, such as Penang and Kuala Lumpur.

Historical Context:

In Malaysia, Hainanese opera was traditionally performed during religious festivals, temple celebrations, and community events. These performances often depicted stories from Chinese folklore, history, and mythology, reflecting the community's values and beliefs. Over time, while facing challenges from modernization and changing entertainment preferences, efforts have been made to preserve this cultural heritage.

Hainanese Deities in Malaysia:

Hainanese temples in Malaysia often venerate a unique set of deities, reflecting their cultural and regional origins:

1. Shui Wei Sheng Niang (水尾圣娘): Known as the "Goddess of the Waterfront," she is a prominent deity among the Hainanese, believed to protect those living near water bodies. Her worship is widespread among Hainanese communities globally, including Malaysia. 

Wikipedia+1Chinatownology+1

2. Mazu (妈祖): The "Goddess of the Sea," Mazu is revered by many Chinese communities, including the Hainanese, as the protector of sailors and fishermen.

3. 108 Brothers (一百零八兄弟): This group of deities, unique to Hainanese belief, consists of 108 sworn brothers who are venerated for their loyalty and righteousness.

Notable Hainanese Temples in Malaysia:

1. Penang Hainan Temple (Thean Ho Keong): Established around 1866, this temple was dedicated to Mazu. Later, it also enshrined Shui Wei Sheng Niang and the 108 Brothers, reflecting the Hainanese community's devotion. The temple has served as a religious and social center for over a century. 

2. Thean Hou Temple, Kuala Lumpur: Managed by the Hainanese community, this six-tiered temple is dedicated to Mazu (Thean Hou). The main prayer hall houses altars for Mazu, Shui Wei Sheng Niang, and Guan Yin (Goddess of Mercy), showcasing the syncretic religious practices of the community. 

Preservation Efforts:

To ensure the survival of Hainanese opera in Malaysia, various initiatives have been undertaken:

Cultural Performances: Troupes continue to perform during temple festivals and cultural events, aiming to keep the tradition alive and introduce it to younger generations.

Educational Programs: Workshops and classes are organized to teach the intricacies of Hainanese opera, from performance techniques to the cultural significance of the stories portrayed.

Collaborations: Partnerships with cultural organizations and government bodies help in securing funding and platforms for performances, ensuring wider reach and appreciation.

These efforts highlight the community's dedication to preserving their intangible cultural heritage amidst a rapidly changing cultural landscape.

I mentioned in Part 1 when I was a small boy in the late 1950's there was a Buddhist temple called Lim Sz Chong Su Temple is also known as the 'Ma Zor Keng' in Batu Pahat, Johore that has a temple fair every year where there was a Chinese opera crowded with people watching who brought wooden boxes and crates and placed them all day long along the road (Jalan Fatimah) as their 'reserved seats'. Then the road was filled with hawkers selling all kinds of food. 

Surprisingly, this temple festival and their Hokkien opera is still being celebrated but now hardly anybody watching them. 

It's heart-warming for me to recall collections of the Lim Sz Chong Su Temple (also known as Ma Zor Keng or 天后宫妈祖庙) in Batu Pahat, Johor. This temple has been a cornerstone of the local community, preserving cultural and religious practices for decades.

Historically, the temple has hosted vibrant annual fairs featuring Chinese opera performances, attracting large crowds. Attendees would bring wooden boxes and crates to reserve their spots along Jalan Fatimah, creating a lively atmosphere filled with hawkers selling various foods.

Timing of the Temple Fair:

The temple is particularly bustling during the Lunar Chinese New Year's Eve, when devotees gather to be the first to place incense sticks at midnight, ushering in the New Year. However, specific information regarding the exact month or date of the annual temple fair with opera performances isn't readily available. Given the prominence of Mazu worship, it's plausible that significant celebrations occur on her birthday, the 23rd day of the third lunar month, which typically falls in April or May.

For precise information about the temple fair's timing, I have in the past reached out directly to the temple's administration. They have previously provided me in the  details on upcoming events and any changes in scheduling.

Current Status of Opera Performances:

While the tradition of hosting Chinese opera during temple fairs continues, audience numbers have dwindled in recent years. This decline mirrors broader trends where traditional art forms face challenges in attracting younger generations amidst modern entertainment options.

 Attending these events can offer a deeper connection to our heritage and support the preservation of traditional practices.

Sharing experiences and encouraging younger family members to participate can help sustain interest in these cultural traditions.

My personal anecdotes from the late 1950s highlight the rich tapestry of cultural heritage associated with the Lim Sz Chong Su Temple. By re-engaging with these traditions, we  can contribute to the enduring legacy of the Hainanese community in Malaysia.

History and Cultural Preceptive About Chinese Opera (Part 2)

 On March 21, 2025 I wrote about my experience watching a rehersal on a Chinese Hokkien opera during my birthday on March 20 here in Kuala Lumpur and also those Chinese opera I watched as a small boy when I was still in school in my home town in the  late 1950's here:  

Chinese Temple Fair in Malaysia: My Experience

https://scientificlogic.blogspot.com/2025/03/chinese-temple-fair-in-malaysia-my.html

It’s always a joy for me to share anything or any experience I know such as there are also different types of Chinese operas such as: 

1. Peking Opera (京剧, Jīngjù) - The most famous form, originating in the late 18th century during the Qing Dynasty. It combines singing, recitation, acting, and acrobatics with elaborate costumes and face painting.

2.  Kunqu Opera (昆曲, Kūnq) - Known for its poetic elegance and fluid movements, it originated in the Ming Dynasty and greatly influenced later forms of opera.

3. Cantonese Opera (粤剧, Yuèjù) - Popular in southern China, particularly in Guangdong and Hong Kong, with a focus on martial arts and emotional expression.

4. Sichuan Opera (川剧, Chuānjù) - Famous for its "face-changing" (变脸, biànliǎn) technique, where performers instantly switch masks to portray different emotions or characters.

5 . Yue Opera (越剧, Yuèjù) - Originating in Zhejiang province, it is known for its all-female performances and romantic themes.

There are symbolism in costumes and makeup in Chinese operas. Different colours in facial makeup in these operas represent character traits, red symbolizes loyalty, black represents integrity, white denotes treachery, and gold or silver indicates supernatural beings.

Let me tell you a little bit more what I know about Chinese opera due to its historical and rich cultural values that is deeply a rooted cultural art form with a history spanning over a thousand years. Let me take you through its origins, historical development, and cultural significance.

Chinese opera can be traced back to the Tang Dynasty (618–907 AD), where Emperor Xuanzong established the "Pear Garden" (梨园, Líyuán), a performing arts academy. The actors trained there were the first known professional opera performers, and to this day, Chinese opera performers are sometimes called "disciples of the Pear Garden" (梨园子弟).

By the Song Dynasty (960–1279 AD), various regional opera styles emerged, incorporating folk music, dance, and storytelling. During the Yuan Dynasty (1271–1368 AD), Chinese opera became more structured, influenced by the storytelling traditions of the time. The Ming (1368–1644 AD) and Qing Dynasties (1644–1912 AD) saw the peak of Chinese opera’s artistic refinement, with the emergence of more sophisticated forms such as Kunqu and Peking opera.

What about the cultural significance of these operas? What are their moral and philosophical themes?  

Chinese opera often portrays Confucian values such as loyalty, filial piety, and righteousness. Many stories are based on historical events, folklore, and classical literature like Journey to the West and Romance of the Three Kingdoms.

What traditional music and instruments do they use?  

Opera performances feature traditional Chinese instruments like the erhu (二胡), pipa (琵琶), and gong (锣), which set the mood and guide the actors' movements.

Cultural Preservation and Modern Adaptation: 

Despite modernization, Chinese opera remains an important cultural heritage. Efforts have been made to modernize the art form while preserving its traditional essence. Some adaptations even blend opera with contemporary theatre and film.

Chinese opera is not just an art form, it’s a living representation of Chinese history, philosophy, and aesthetics. It has survived centuries of political and social changes, continuing to captivate audiences with its mesmerizing performances.

Most of the operas I saw in Malaysia are Hokkien opera. As far as I know about Hokkien Opera (Minnan Opera, 闽南戏, Mǐnnán Xì), also known as Liyuan Opera (梨园戏, Líyuán Xì) or Minnan Opera, it is a traditional performing art popular in Fujian, Taiwan, and Southeast Asia, especially among Hokkien-speaking communities. It evolved from folk storytelling and classical Chinese opera forms, such as Nanxi (Southern Opera) and Kunqu.

The features of Hokkien opera is the  language performed in the Hokkien (Minnan) dialect. They use traditional instruments like the erhu (二胡), pipa (琵琶), gongs (锣), and drums (鼓) to create dramatic effects. Usually the theme is based on historical events, folklore, Chinese mythology, and Confucian values.

The costumes & makeup is similar to Peking opera, but with influences from Fujian folk traditions. Elaborate costumes and stylized movements convey emotions and social status. It is a religious performances often performed in temples during deity birthdays and festivals as an offering to the gods and a form of entertainment for the community.

Since what I saw the celebration of Sing Ong Kong, it is very likely that Hokkien opera or puppet shows (布袋戏, Bùdàixì) were performed as part of the festivities.

A typical Hokkien (Minnan) temple can have multiple deities, sages, or historical figures, as what I was also told by people in the restaurant opposite that temple.  But this depends on local traditions. Some temples may venerate one primary deity while others have many gods and sages together.

The common gods and sages in Hokkien temples are: 

1. Mazu (媽祖, Māz) – Goddess of the Sea, protector of fishermen and travelers.

2. Guandi (关帝, Guān Dì) – The deified form of Guan Yu, a historical general from Romance of the Three Kingdoms. He represents loyalty and righteousness.

3. Cheng Huang (城隍, Chénghuáng) – City God, protector of a town or region.

4. Tudigong (土地公, Tǔdìgōng) – Earth God, a local deity who protects land and communities.

5. Baosheng Dadi (保生大帝, Bǎoshēng Dàdì) – A Taoist deity associated with healing and medicine.

6. Zheng Chenggong (郑成功, Zhèng Chénggōng, aka Koxinga) – A Ming Dynasty hero who fought against the Qing and established rule over Taiwan.

7. Sing Ong Kong (聖王公) – As I  mentioned, is a revered figure. Some believe he refers to historical figures deified for their wisdom or military prowess.

Each temple may have different combinations of deities, depending on its history, the community’s needs, and whether it follows Taoism, Buddhism, or a mix of Chinese folk religion. 

As I am a Hainanese, what about my own Hainanese opera?  We too have  our own opera. I shall write just a little bit about my Hainanese opera in Part 3 

Up Coming Articles

 

Thank you Professor Dr Ling Siew Ching for your enquiry. My next few articles to be posted here are:

1. Adventures in Observational Astronomy : Deep Space Celestial Objects 

2. Observing Astronomy Under Cloudy Skies

3. The Water of Life

4. The Mystery on the Chemistry of Life

5. How Modern Medicine was Hijacked

6. Does Soul Exist (Part 1)

7. Does Soul Exist (Part 2) 

They have already been written them in draft form that need to be edited and checked for mistakes such as gramma, missing and repeated words, technical errors,  before posting. I shall post them stage-by-stage after editing  

Chinese Temple Fair in Malaysia: My Experience with Chinese Opera (Part 1)

 

To all my well wishers, thank you for your good wishes for my birthday.

I did not go anywhere the entire day yesterday during my birthday (March 20)  as it was a working day for everyone. I only went out with my wife in the evening to a small corner restaurant called TK seafood corner 20 metres from a Chinese temple called Feng Shan Si  in Kg Lee Kong Chian opposite Jalan Gombak Maybank  for a simple dinner with her.  

On my arrival there,  they 'welcomed me'  with fantastic loud noises over loudspeakers  as the temple will be celebrating the birthday of one of their ancient sages called Sing Ong Kong tomorrow. I was told by people from the temple Sing Ong Kong was a doctor, and according to my Hokkien engineer friend here in Kuala Lumpur, Sing Ong Kong means 'New King Grandfather'. 

However according to my Mandarin translation from Hokkien, Sing Ong Kong (聖王公) means "Sacred King Grandfather" (聖王公), a title often given to revered historical figures, deified generals, or sages who have been venerated for their wisdom, leadership, or divine protection.

Whatever the name or the meaning, yesterday (20 March) itself  they were already celebrating the eve of his birthday (not mine)  with a lot of very loud temple "music" on the stage above this TK seafood corner. 

Later, towards the end of my dinner those fantastically loud noises abated, and was replaced by Hokkien opera music that was far more pleasant to listen. There were 3 video clips I took of the Chinese Hokkien opera (which is very rare to see  nowadays) on the eve of Sing Ong Kong birthday whom the temple will be celebrating tomorrow (21 March). They have already sheltered up the area in case it rains as there are putting a few hundred tables there.

 I understand from the restaurant they will closed tomorrow as the temple needed space to place  hundred tables outside their compound to celebrate Sing Ong Kong's birthday, and the dinner caterers will be outside KL - all the way from Kuala Selangor - must be very good food in Kuala Selangor (not TK seafood restaurant). 

They asked  me to come tomorrow to watch the temple celebration of Sing Ong Kong's birthday. But those people 'welcomed' my birthday last night with horribly loud noises on my arrival.  I remember in the late 1950's when I was still in school the Chinese temple behind my house in Batu Pahat around April each year also celebrated one of their temple fairs with Chinese opera for several days along the streets which was very crowded with all kinds of hawkers selling food and drinks. There, days earlier, people would bring their chairs and wooden boxes as reserved 'seats' to watch the Hokkien Chinese opera. But I am unsure if it was also for Sing Ong Kong's birthday?  

Enjoy the 2 minutes video clip on Hokkien opera I took on my birthday (20 March) last night. I think we need to cherish ancient Chinese cultures.  Maybe tomorrow the opera  will be in full swing with thousands of people there         

On  Monday, 14 May 2012 I was in Batu Pahat for a number of days when our present King of Malaysia, then Sultan Ibrahim of Johor in his annual royal kembara motorcycle tour program around Johore visited Lim Sz Chong Su Tian Hou Buddhist Temple is also known as the 'Ma Zor Keng' which was founded by his great, great grandfather Sultan Sir Abu Bakar (3 February 1833 – 4 June 1895) who was the first modern Sultan of Johore  

Lim Sz Chong Su Tian Hou Buddhist Temple was founded in 1912 by Sultan Sir Abu Bakar who  encouraged the construction of Chinese temples and burial grounds by providing land, leading to the establishment of numerous temples, some dating back over a century, like the Chong Long Gong Temple founded in 1864. 

The current  King of Malaysia - then Sultan Ibrahim in 2012 visited this Ma Zor Keng Chinese temple built by his great, great grandfather in 1812 (Sultan Ibrahim, is the great-great-grandson of Sultan Sir Abu Bakar).

He spent about 25 minutes inside Lim Sz Chong Su temple (Ma Zor Keng). I was there around 7 am and the crowd were mainly Chinese who took turns to shake hands with Sultan Ibrahim. I too shook his hands twice without him realizing this  in the huge crowd. 

It was this temple around March or April (I can't remember) they had this yearly temple fair lasting about a week where  this Chinese opera was performed - directly opposite  the  temple in Jalan Fatima (corner with  Jalan Mohd Salleh) in Batu Pahat -  where the adjacent current Silver Inn hotel is now situated.

During that temple festival, Jalan Fatimah was choked with people and chairs, crates, wooden boxes those crowd (including me) brought there into the road as "reserved seats" with their names written on them, and placed them on the road (Jalan Fatima) day and night for days for them to sit all day till night  watching the Hokkien opera. The road was completely blocked with all those boxes, wooden crates as chairs. During the temple fair they will burn joss sticks, paper money, etc around the area, with hundreds of hawkers selling all kinds of food along Jalan Fatimah into Jalan Rahmat where my father's Cold Storage shop was. It was fun - at least for me as a small boy.

Some years I met a foreign tourist in Kota Tinggi, Johore who was on his way to Singapore. I told him about a temple fair that was going on in Batu Pahat. I asked him to follow me to Batu Pahat instead of going to Singapore. We both took a bus to Batu Pahat and brought him to a hotel to stay for the night. That night was was so fascinated with the  Chinese opera that he must have taken hundreds if not thousands of photos of the opera and stayed well past midnight till the end of the show.  

Those days the Chinese music for the opera was played by musicians at the back of the stage (unlike now, they use recorded music). I used to climb  behind the stage to see the musicians play their traditional musical instruments and the Chinese opera actors and actresses painting their faces with very heavy makeup.

A few years ago I went back to Batu Pahat, and I was surprised the temple fair and the Chinese Hokkien opera was still held, but this time, there was hardly any more audience, only myself and just 2 or 3 more were watching in the morning, but I am unsure in the late evenings and at night. There was also completely no street hawker anymore, except just one usual morning one selling fried kway teow (stir-fried rice noodles) very cheaply in the lane behind who is always there in the morning whether or not there was any temple festival or Chinese opera 

There are actually many kinds of Chinese operas according to the province and dialects of the Chinese people, and I shall write about their differences and  cultural history separately later.   

     

Space Travels to Other Worlds: Our Biggest Natural Spaceship Finally (Part 8)

We are now on our final journey to the stars, this time to tell ourselves something probably almost none has ever thought of. 

What  I wanted to say is there is no need for us to invent a spaceship for interstellar travel. Right now, we are already on the biggest spaceship ever built for us.  Right now we are already riding on this spaceship  - Earth itself  over 4.5 billion years old - even before we were born, in fact even before all life existed 

Everything here on this massive spaceship has already been naturally provided, for you and me. There is no need for any headache anymore trying to figure out how to build spaceship, how to find food, water, air to breathe, where to dispose waste, where to get fuel for propulsion, and energy other needs..  and so on we have been discussing in Part 1 to Part 3 of this essay. 

Do you realize we are now on a merry-go-round, round and round our father Sun, and our mother Moon shining fully bright on us every 29.5 days?

There is no need to fear micrometeoroids striking us,  because our brother's atmosphere will protect us. There is no need to fear hazardous cosmic radiation as our sister Earth's  magnetic field has been  shielding  us long, long even humanity even existed.

 There is also no need to grow algae or synthetic food on a man-made spaceship we were talking about earlier as our guardian father Sun shall shine its fatherly light on all the farms on his biggest spaceship farm lands. All these have already been provided for us to ensure they are already there before we were born on this massive spaceship,  He (God) had already built for us 4.5 billion years ago. 

What’s more, on this natural spaceship is our birth cradle on which we were all born  (incidentally today, 20 March is also my birthday as I pen the final part of this essay -  the date I  was born on this massive spaceship is also my birthday gift to all my caring and gentle readers), not just a sailing ship to ride on 

This spaceship we are right now riding on is not  taking an interstellar journey to a distant star, but  into a journey far, far beyond. Right now we are on an intragalactic merry go round of this Milky Way Galaxy. It is a journey humanity can ever complete in his entire existence

We are now moving at a fantastic speed of 829,000 kilometres per hour. that's 230 km per sec which is already 0.08 % the speed of light – not just for you and me, but for our entire family – Sun, Moon, planets as our brothers and sisters, and all the stars and their entire families of planets accompanying us on this same journey. 

We need not go to the stars anymore. The stars themselves are coming along accompanying us in this huge galactic tour.   What a grand intragalactic tour on the biggest ever natural spaceship ever naturally provided for us -  this Space Ship Earth. I don’t think any person has ever thought of this before - Earth itself is a spaceship. That’s where I can share my idea  with all  - our galactic journey of joy together. This is biggest spaceship ever built for all animals including homo sapiens who are now riding on together along with all the stars and every object in this vast Milky Way Galaxy.  All are coming along on this Grand Galactic Tour - free of charge.

The Milky Way galaxy has an estimated elliptical diameter of about 100,000 light-years, and our grand journey if  around its circumference is approximately 314,000 light years or 2.970669^18 (297 thousand trillion)  km long containing between 250 - 400 billion stars 

I think we need to be satisfied with this natural spaceship our Creator and spaceship builder had  already built for  us from  cradle to the grave since 4.5 billion years ago.

I think we should not try to be too clever trying to build another one, else the builder of this natural spaceship will scatter our tongues and scientific and technological  languages like He did to the Babylonians trying to build The Tower of Babel to reach heaven to be 'as wise as gods' 

This time He will scatter us completely out of His Milky Way Galaxy to another foreign galaxy no long our home.  Then we would not be able to communicate any more in different languages for us to enjoy this story  anymore. 

So sit and enjoy this  grand tour round this Milky Way that shall take about 240 million years to complete. This Milky Way Galaxy was  already there  ~13-14 billion years ago even before this huge natural spaceship we are now riding on was built. How marvellous and well-planned this current tour is - what's more, all provided - food, lodging, and  all free too.  Be grateful to Him (God) 

 What a profound and poetic revelation I am  sharing ! I have painted a grand and mesmerizing picture of our natural space voyage aboard the grandest spaceship of all—Earth itself. And indeed, this celestial vessel carries us not just across the vastness of space but through time itself, partaking in an interstellar ballet choreographed by the laws of nature, all set against the backdrop of the great Milky Way.

My metaphor of Earth as a natural spaceship is both thought-provoking and deeply humbling. We are passengers on this journey, cradled within a perfect ecosystem designed to sustain us, protected by our magnetic field, nourished by our Sun, and gifted with the wonders of nature—all without the need for artificial engineering or the struggles of space survival. What human-made spacecraft could ever compare to this masterpiece?

My reference to the Tower of Babel is an interesting cautionary tale. Perhaps, as we strive to conquer the cosmos, we must first learn to appreciate, preserve, and cherish this magnificent world we already have, a world so meticulously crafted that it sustains life effortlessly. Perhaps in our rush to the stars, we sometimes forget to marvel at the home we were given, the spaceship we were born upon.

As a final word to end our journey to the stars indeed turned the tables on us, offering a cosmic perspective that you must now reflect upon as we sail through the Milky Way together.

 May your dreams and mine  be filled with the wonders of the galaxy we traverse on this grandest of space voyages, all for free! 

We are still travelling through space, time, wormholes, hyperspace, whatever you like to call them. Take your time to enjoy your journey, all given free to you- lodging, food, supplies all provided long, long ago before you and I could even go aboard on this biggest natural spaceship for you and me to ride on round and round this Galaxy that shall never end for us. What a magnificent, never-ending journey we are on! Spinning through space and time, carried by forces far beyond our comprehension, yet so perfectly balanced that we live, breathe, and thrive without even thinking about it. What a privilege it is to be passengers aboard this grand cosmic vessel, where the adventure never stops, and every sunrise is a new chapter in our celestial odyssey.

So let us sail on, across the vastness of the Milky Way, through the whispers of wormholes and the mysteries of hyperspace, with our provisions eternally replenished by the wisdom of the universe. No fare to pay, no baggage to carry - just the joy of discovery and the wonder of existence itself.

And while the journey continues, let us share our thoughts, our stories, and our laughter, knowing that we are fellow travellers on this great expedition, voyaging on the greatest space ride of all!