‘I never imagined I would be dancing at funerals'

Straits Times

14-05-2025

Mr Ahmad Zahid Isnin stands among the big-headed doll costumes that he wears as a performer at Chinese funeral processions, embracing a role few outsiders have taken on. PHOTO: SPH MEDIA
'I never imagined I would be dancing at funerals' Your Singapore Story: Besides serving delectable briyanis, this Muslim chef and entrepreneur also dances at Chinese wakes
Mr Ahmad Zahid Isnin is not someone you can easily put in a box.
A talented multi-hyphenate – chef, entrepreneur and musician – the 47-year-old is best known for his food venture, Global Mat Soul Kitchen. There, he runs small-batch food drops via Instagram, offering his take on Malay cuisine to an eager community of followers.
Watch his video here.
But beyond the kitchen, he has also found himself in an unexpected role – as a big-headed doll (commonly known among the Chinese as da tou wa wa) performer at Chinese funeral wakes.
His journey into lion dance and funeral rites is one few outsiders have taken, especially for a Muslim.
In his own words, Mr Zahid shares how he became part of this centuries-old tradition, what it means to him and why he continues to honour Singapore's rich multicultural heritage.
The chef-cum-performer inspects the intricate funeral costumes he wears as part of his role in traditional Chinese funeral rites.
PHOTO: SPH MEDIA
'I never imagined I would be dancing at funerals. It started with curiosity. I had always been drawn to the colour and noise of the lion dance and Chinese funeral processions as a child.
The crashing of cymbals, the pounding of drums – it was hypnotic. Years later, when I finally got the chance to be part of a lion dance troupe, I took it.
In lion dance, the da tou wa wa is a playful figure, bringing joy to celebrations. But in funeral rites, he takes on a different role.
At large send-offs, the da tou wa wa leads the procession, performing a dance that is meant to 'lighten' the journey of the deceased. It is a mix of reverence and theatrics, a spectacle that is as much about honouring the past as it is about confronting mortality.
The first time I performed at a funeral, I remember standing there, wearing the massive doll head, adjusting its frame as it rested on my shoulders and preparing myself to step forward.
In front of me, the family stood in mourning. Behind me, the musicians readied their instruments. And then the drums began.
I moved through the motions, swaying, bowing, spinning – each step part of a ritual older than any of us. I was dancing for someone who would never see it, yet at that moment, it felt like the most important audience I had ever had.
People find it strange that I... would take part in something so deeply rooted in Chinese traditions. But I never saw it as belonging to just one group.
These rites, these performances – they are part of Singapore's cultural fabric. And somehow, I found a place in them.'
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