Chapter 35: CNY Unicorn & Lion Dance of Yesteryears

On 2 February 2024, Pope Francis received a delegation from the Italy-China National Federation in a special audience at the Apostolic Palace in the Vatican. Among the highlights of the visit was a vibrant cultural performance by a troupe from the Chinese Martial Arts Academy of Vercelli, who brought the traditional Dragon and Lion dance to life within the Vatican walls.

In a symbolic and rarely seen gesture, Pope Francis was invited to perform the "dotting of the eye" on the Lion - a ritual deeply rooted in Chinese tradition, believed to awaken and empower the Lion to fulfill its role of bringing good fortune, health, and prosperity to all present. This act, often carried out at the beginning of festive celebrations, was met with appreciation by many as a gesture of goodwill, openness, and intercultural respect.

Yet, the moment was also striking in its rarity. It is uncommon to see the head of the Roman Catholic Church engaging in a practice that some conservative followers might perceive as incongruous with their theological framework. Nonetheless, the Pope’s action reflects his broader vision of dialogue, cultural exchange, and a Church that reaches out beyond boundaries- both geographical and ideological.

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In the 1950s through to the mid-1960s, the old Lok Yuk School at Signal Hill - where I completed my primary education and part of my secondary education - had its own unicorn dance troupe. What made it special was that the troupe members were students of the school themselves. Each year, in the lead-up to the Chinese New Year, they underwent intensive martial arts training in preparation for public performances around the town of Jesselton (now Kota Kinabalu).

Throughout the festive season, the troupe members made a notable sacrifice: they had to forgo celebrating Chinese New Year with their families, relatives, and friends. I believe it was a sacrifice they accepted willingly, with pride. One of my primary school classmates, who also happened to be my neighbour, was an enthusiastic member of the troupe. During that season, he was absent from our usual childhood routines - roaming the village, playing games, setting off firecrackers, and receiving ang pow from the elders.

Every year, before the unicorn was officially launched for the New Year festivities, a Blessing Ceremony was held. I remember taking part in one such ceremony, possibly in 1964 or 1965, when I was either in Bridge Class or Form One. The ceremony, traditionally conducted in the late afternoon or early evening of Chinese New Year’s Eve, was held at a small hill beside the old basketball court. It was led by the church pastor and attended by the troupe leader, the unicorn handler, and other participants. The ceremony began with a short exhortation followed by a prayer of blessing for both the unicorn and the troupe members. Then came a symbolic act: the unicorn was led to pluck a few green leaves from a nearby tree, chew them, and swallow. This gesture signified that the unicorn had been fed and was now ready to begin its duties.

The unicorn troupe of Lok Yuk School was eventually disbanded, likely sometime between the mid to late 1960s. The reasons for its dissolution were never made fully clear. However, I recall hearing murmurs from some members of the Basel Church that maintaining a unicorn troupe under the church's jurisdiction conflicted with the Christian faith. It was common during performances at homes where ancestral worship or Buddhist practices were observed for the unicorn to bow or pay homage at altars - acts some deemed inappropriate for Christian students to participate in. Whether this theological concern directly led to the troupe’s disbandment remains uncertain, but it may well have played a role.

Interestingly, around the same period, La Salle School in Kota Kinabalu - under the Roman Catholic mission - also had a lion dance troupe. That troupe, too, was eventually disbanded.

Colourised Photo.

A female schoolmate, Lynette recently pointed out that she and another classmate of her were also members of the troupe. She is seen squatting next to a unicorn at front row second from left in this old photo. Her classmate , a daughter of a Pastor of Basel Church Jesselton then is at her left.

Troupe performed along the streets of old KK.

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These days, lion, unicorn, and dragon dance troupes remain a vibrant part of the cultural landscape in Kota Kinabalu. Many are now organized under the boards of Chinese vernacular schools or managed by Chinese temples. While the traditions continue, an interesting shift has taken place in recent years: the ethnic composition of these troupes has changed significantly.

In some cases, the majority of troupe members are no longer Chinese. For instance, in the SJK(C) Yick Nam Dragon, Unicorn, and Lion Dance Troupe, Chinese students reportedly make up only about 5% of the members. (Read here)

I wrote a blog post back in February 2013 reflecting on the state of lion dance and its connection to Chinese cultural identity. A decade on, the trend of declining Chinese participation in these traditional performing troupes not only persists - it appears to be irreversible. (Read here)

In contrast, an encouraging development has been taking place in Australia. In Perth, the lion dance is enjoying a surge in popularity, particularly among Australians of Chinese descent. This resurgence can be attributed to the active efforts of Chinese clan associations that promote cultural heritage and identity through lion dance. Additionally, many Chinese parents there encourage their children to take part in lion dance troupes, seeing it as a meaningful way to stay connected to their roots while learning valuable skills and discipline through the art.

This heartening news was shared with me just this morning during an online Bai Nian session with family members from Australia and Singapore - a timely reminder that while traditions may evolve or shift in one place, they can also flourish and find renewed life in another.