As gods in the Chinese religious pantheon can choose to be benevolent as well as malevolent and are believed to possess power over human health, fertility, and fortune, they must be ritually propitiated. To worship the gods, incense is burnt daily at shrines and temples. In addition, the gods' birthdays are regarded as special events. On these occasions, regular devotees of the particular deity bring offerings, joss-sticks and incense to the temple premises. The larger than usual crowd draws hawkers to the vicinity. Sometimes, street theatres in the form of opera and puppet shows are also performed to entertain and to thank the deities for favours granted. All these – the crowd, the hawkers and the entertainment – create the atmosphere of a festival.

More recently, modern stage shows called ko-tai (literally translated as “song stage”) have played a part in religious festivals as well. These stage shows, featuring Chinese and Western popular songs (accompanied by electric-guitar bands) and comic sketches, are usually performed for two or three days after the traditional operas have been staged. There is thus a mix of traditional and modern theatres in religious festivals today.

Although various preliminary studies of the traditional opera and puppet theatre in Malaysia are avail able, no investigations have been conducted on the ko-tai which can be found in the streets of Penang throughout the year and which attracts large audiences. A study of the ko-tai is thus pertinent.

In this paper, I shall discuss the nature and content of the ko-tai and attempt to explain its popularity in Penang. The findings are based on attendance of some 100 ko-tai shows, 200 comic sketches, and interviews with proprietors, managers, performers, and audiences of different ko-tai troupes in Penang over a period of three years (1979–81). The comic sketches and songs performed were also taped for analysis.