Changing moods of a changing face

1 06 2012

Marina Bay is where the most dramatic of changes that the city of Singapore has seen over the last 30 years has probably taken place. It is now a showcase of the new Singapore – one that reflects how the mood of a nation that emerged out of uncertain times to where it finds itself now, proudly standing on its own. The bay as it is referred to now, was once the harbour – the harbour on which modern Singapore was founded on and from which much of its people and its wealth came in from. Cut off from the sea that brought it life by the reclamation of land and the construction of the Marina Barrage, the old harbour is now part of a large body of fresh water – an important reserve of the important resource that Singapore has always struggled with. Beyond that, it has also become the showcase of Singapore’s transformation with several rather iconic developments rising around the bay that has given the area a ‘wow’ factor. Even as I struggle to come to grips with this new world that has replaced much of what I loved of the Singapore that I grew up in, I must admit that I find myself in celebration of this new world. The new world in reflecting the changed mood of the nation is probably also where it is best to capture the changing mood of each day at daybreak – which I have tried to do on four out of five working days this week … the photographs that follow are taken at about the same time on each of the four days, each capturing a very different mood.

The calm after the storm

28 May 2012, 6.37 am.

A clear day

30 May 2012, 6.36 am.

The calm before the storm

31 May 2012, 6.38 am.

In the midst of a storm

1 June 2012, 6.39 am.





Dances with urns

31 05 2012

With the two week long Singapore Arts Festival drawing to a close on 2 June 2012, there still are a host of interesting happenings in and around the Festival Village to catch. One installation which I found rather intriguing – after watching a full dress rehearsal, is one that will take place at the Open Lawn (just next to the Lim Bo Seng Memorial) on just two evenings at 8pm (tonight 31 May and tomorrow 1 June). The installation, Dream Country – a lost monologue, involves some 41 women – the six collaborators behind it and 35 women of age 17 to 58 years, interacting with 35 clay urns. The performance is inspired by Dream Country, a monologue written by Malaysian playwright Leow Puay Tin. In this piece, the monologue is lost, living on in a dance which sees a depiction of birth, life and death during which interaction involves not only the urns, but also some elements such as water and earth – leaving the rest very much to imagination of the audience. More information is available at the festival’s page on the installation DREAM COUNTRY — a lost monologue.

Dream Country – a lost monologue involves scenes depicting birth, life and death as 41 women dance with 35 urns.

Elements such as water and earth are very much a part of the installation.

More scenes from Dream Country – a lost monologue:

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About The Singapore Arts Festival

The Singapore Arts Festival began in 1977 as a national showcase celebrating the local arts of Singapore’s diverse communities. Over the last three decades, the Festival organised by the National Arts Council, has played a symbiotic and catalytic role in the development of the artistic and cultural life of Singapore. It has influenced the work of artists and generated a growing public demand for the arts, spawning new capital platforms, events and movements that help underpin the lively cultural scene in Singapore.

The Festival saw its turning point in 2010 as it embarked on a new phase of development under the leadership of Low Kee Hong. Key changes and initiatives include turning this international arts platform into a Creation and People’s Festival with a vital year-long participation programme, continuing to sustain the Festival’s engagement with the public beyond individual shows staged during the Festival period. The commune events and activities are tailored for four groups: new audiences — people who may not have encountered the arts; arts lovers — people who buy tickets to performances; arts makers — artists and teachers who inspire their students through the arts; and arts volunteers — people who have the heart to make a difference.

The Singapore Arts Festival has now become an international showcase of ideas, art and discourse with a distinctive Asian flavour, known for its bold and innovative discussions between vernacular and contemporary art.

Singapore Arts Festival 2012: Our Lost Poems

The 2012 Festival will be held from 18 May – 2 June 2012. This edition of the Festival completes the trilogy of themes set out two editions ago – Between You and Me (2010), I Want to Remember (2011), Our Lost Poems (2012). Over these 16 days, the city comes alive with an infusion of performances at the Festival’s hub – the Festival Village @ Esplanade Park and other key venues. There is something for everyone this year, from ages 1 to 100.






Strings to a forgotten time

29 05 2012

Out and about an entire day and feeling irritable from that as well as from being drenched in the perspiration, I am glad that I resisted the urge to head home, have a shower and a what seemed to me like a much-needed lie-in. I headed instead down to a place I was familiar from times forgotten, to partake in the pure delight of being transported by four men armed with bows and strings, to a world not so far away from those forgotten times.

A changed view of a once familiar place.

When I got to that once familiar place, Esplanade Park, rendered somewhat unrecognisable by the obstructed view of what had once been the sea that now is a body of fresh water and the temporary structures set up for its use as a festival village for the Singapore Arts Festival, a huge crowd had already taken up temporary residence on mats provided by event organisers on a lawn by a stage. The crowd had gathered in anticipation of what was to follow – a free evening performance by the four men who form a string quartet – Singapore’s highly acclaimed T’ang Quartet, for what was titled “A Musical Snapshot of Nostalgia”.

The main stage at the festival village in front of which crowds had gathered seated on mats.

A close-up of a violinist.

I and I am sure the crowd were not disappointed by what was to follow. In the glow of the gorgeous warm lighting and on a stage set against a backdrop of shipping containers, the casually dressed but accomplished quartet played out a musical treat inspired by the once popular folk melodies, old favourites and themes of forgotten popular local television shows – in line with the festival’s theme of “Our Lost Poems”, that had the audience captivated throughout. It was easy to become immersed in the strains of much of what was familiar, and I quickly found myself back in that time I had forgotten – one piece that I found myself singing to was Burung Kakatua which also brought a tear to my eye – it was a song that my late maternal grandmother to whom I was very close to had taught me. The surroundings had once again become that Esplanade of old, fanned once again by a cool evening breeze – a breeze not out of the stillness of the air that now fills the park, but of the light and delightful interpretation of tunes, arranged by Pang Kok Jun from the Yong Siew Toh Conservatory of Music, many of which I have for long not heard – certainly an enjoyable evening and one that was well spent.

The T’ang Quartet against a backdrop of shipping containers – on the Main Stage at the Festival Village.

The audience, young and old, was captivated by the strains of the once familiar melodies.

Portraits of the members of the T’ang Quartet

Ng Yu-Ying, 1st Violin.

Ang Chek Meng, 2nd Violin.

Lionel Tan, on viola.

Leslie Tan on cello.

Loved the effect of the projection of the performance on the shipping containers.

The Singapore Arts Festival is on up until 2 June 2012. Besides the ticketed events, the Festival Village at Esplanade Park also offers free fun and entertainment for the whole family including performances like that of the T’ang Quartet at the Main Stage and also lots of kids activities at the Kids Arts Village. One free performance at the Main Stage that I highly recommend is one at 10 pm on 2 June 2012 that will certainly have you in stitches – that of the a capella five-some (sort of) Budak Pantai – I had the opportunity of watching them perform last year and they were brilliant! For more information do visit http://www.singaporeartsfest.com/.


About The Singapore Arts Festival

The Singapore Arts Festival began in 1977 as a national showcase celebrating the local arts of Singapore’s diverse communities. Over the last three decades, the Festival organised by the National Arts Council, has played a symbiotic and catalytic role in the development of the artistic and cultural life of Singapore. It has influenced the work of artists and generated a growing public demand for the arts, spawning new capital platforms, events and movements that help underpin the lively cultural scene in Singapore.

The Festival saw its turning point in 2010 as it embarked on a new phase of development under the leadership of Low Kee Hong. Key changes and initiatives include turning this international arts platform into a Creation and People’s Festival with a vital year-long participation programme, continuing to sustain the Festival’s engagement with the public beyond individual shows staged during the Festival period. The commune events and activities are tailored for four groups: new audiences — people who may not have encountered the arts; arts lovers — people who buy tickets to performances; arts makers — artists and teachers who inspire their students through the arts; and arts volunteers — people who have the heart to make a difference.

The Singapore Arts Festival has now become an international showcase of ideas, art and discourse with a distinctive Asian flavour, known for its bold and innovative discussions between vernacular and contemporary art.

Singapore Arts Festival 2012: Our Lost Poems

The 2012 Festival will be held from 18 May – 2 June 2012. This edition of the Festival completes the trilogy of themes set out two editions ago – Between You and Me (2010), I Want to Remember (2011), Our Lost Poems (2012). Over these 16 days, the city comes alive with an infusion of performances at the Festival’s hub – the Festival Village @ Esplanade Park and other key venues. There is something for everyone this year, from ages 1 to 100.






The Merlion in a wrestling ring

17 05 2012

Head over to the Esplanade Park if you are looking for some unusual fun and entertainment this weekend. For two weeks from 18 May to 2 June 2012 will be abuzz with a host of activities and performances as the Festival Village of the Singapore Arts Festival 2012 invades the once popular destination for family outings and for a satay feast. The activities and performances are aimed to reach out to as the Festival organisers would have it, anyone from ages 1 to 100, which will tease the senses and delight the soul, and I did have the opportunity to see did tease and delight my soul and senses at a preview of a few of the highlights last evening.

XII – in search of 13. The Merlion flooring the Getai Queen.

Singapore Arts Festival GM, Low Kee Hong, giving speaking at a media preview of the Festival Village.

After the introduction to this year’s Singapore Arts Festival and the Festival Village on the Café Rooftop which provided a wonderful view not just of the Festival Village but also of Marina Bay, the group were soon brought down to earth to have a sneak peek at what the Festival Village will have on offer. The white of the marquees and the yellow of the festival’s paraphernalia was clearly evident. The comings and goings of people the white and yellow must surely have attracted when mixed in certainly brought a buzz to the Esplanade Park that hasn’t been seen for some time. The first act that we were introduced to, XII – going on 13, was one held in a ring – a wrestling ring that is. While what was to go on in the ring definitely wasn’t WWE, it did involve some heavyweights – in the form of twelve icons of Singapore, in a fight to determine as the festival guide puts it “the ultimate National icon amid a backdrop of myths, stories and drama where the Lim Bo Seng Memorial stands”. In the first match-up, the Merlion swiftly and without so much fuss, floored the Getai Queen – in what was probably not an even match-up …

Couldn’t help but notice the fascinating movement of 41 women interacting with 35 urns nearby in DREAM COUNTRY – a lost monologue.

Next up, not before I got distracted by the 41 women moving around 35 large urns in the clearing nearby (DREAM COUNTRY – a lost monologue) , was a pop by the Kids Art Village. After a short introduction, we were treated to a performance by some really adorable children 3 to 8 years old from Kids Gallery Singapore in their interpretation of Dr Dolittle, Talking with the Animals. The Kids Arts Village offers activities and performances that will certainly appeal to children as well as the kids in some of us. Some other highlights found at the Kids Art Village include Tangle – which will have many tangled in ribbons and Spooky Stories by Children.

Talking with the Animals – an interpretation of Dr Dolittle by children 3 to 8 years old from Kids Gallery Singapore … see various acts and participate in various events that will reach out not only to children, but also to the kids in some of us at the Kids Art Village.

Talking with the Animals.

Tangle.

Having to be whisked away to catch a rehearsal of Mark Chan’s The Flight of the Jade Bird, I wasn’t able to catch much of the last part of the preview. That involved the appearance of the mythical centaur – the half man / half horse creature that we discover, may not be so different from us in a performance entitled FLUX. The dance routine of man and horse that I did manage to catch before heading off looked thoroughly captivating – reason enough for me to head back down over the two weeks to catch the full performance of this as well as to further tease my soul and delight my senses in discovering what else the Festival Village has to offer.

FLUX introduction.

FLUX.

FLUX


About The Singapore Arts Festival

The Singapore Arts Festival began in 1977 as a national showcase celebrating the local arts of Singapore’s diverse communities. Over the last three decades, the Festival organised by the National Arts Council, has played a symbiotic and catalytic role in the development of the artistic and cultural life of Singapore. It has influenced the work of artists and generated a growing public demand for the arts, spawning new capital platforms, events and movements that help underpin the lively cultural scene in Singapore.

The Festival saw its turning point in 2010 as it embarked on a new phase of development under the leadership of Low Kee Hong. Key changes and initiatives include turning this international arts platform into a Creation and People’s Festival with a vital year-long participation programme, com.mune to sustain the Festival’s engagement with the public beyond individual shows staged during the Festival period. The commune events and activities are tailored for four groups: new audiences — people who may not have encountered the arts; arts lovers — people who buy tickets to performances; arts makers — artists and teachers who inspire their students through the arts; and arts volunteers — people who have the heart to make a difference.

The Singapore Arts Festival has now become an international showcase of ideas, art and discourse with a distinctive Asian flavour, known for its bold and innovative discussions between vernacular and contemporary art.

Singapore Arts Festival 2012: Our Lost Poems

The 2012 Festival will be held from 18 May – 2 June 2012. This edition of the Festival completes the trilogy of themes set out two editions ago – Between You and Me (2010), I Want to Remember (2011), Our Lost Poems (2012). Over these 16 days, the city comes alive with an infusion of performances at the Festival’s hub – the Festival Village @ Esplanade Park and other key venues. There is something for everyone this year, from ages 1 to 100.






An old world hidden on Forbidden Hill

14 05 2012

Hidden on a terrace behind the blood and bandages of the Central Fire Station is a delightful old bungalow set amid the luscious greenery of a hill that was once an abode of the Kings. From the world that lies below, it is hard to imagine the world that does exist on the terrace – the entrance to the grounds on which it is set in is well hidden, nestled in between the mystery of the Masonic Hall and a building that I had once remembered as housing the Methodist Book Room, now the Singapore Philatelic Museum.

The entrance to the Flutes at the Fort housed in a century old colonial bungalow is hidden between the mysterious Masonic Hall and the Singapore Philatelic Museum.

A pathway takes one along the back of the Central Fire Station up to a terrace on which the delightful black and white century old bungalow sits.

I found myself heading up to the bungalow one afternoon, headed for an event held to honour the founder of Azimuth, Alvin Lye as The Glenlivet Pioneer of the Year. Stepping through the hidden entrance way, a sign reveals that it is to the Flutes at the Fort that I was heading to, up through a shady part that ran along the back fence of the Central Fire Station, up to a world a large part of I am familiar with from my many explorations in the area during my days in school. To the bungalow that stood on a terrace above the pathway, I had not previously ventured to, and it was as much to satisfy my curiosity for what is a conserved black and white bungalow – the only one now on the hill that was in the days of the Kings of Singapore known as “Forbidden Hill“, as well as to attend the event itself, that I found myself making my way up to the terrace.

A view from the pathway.

The bungalow and an auxiliary building.

The bungalow elevated on stilts and with a generous amount of openings to keep it cool and airy – as is common in many similar houses built to house senior officers of the Colonial administration which this one apparently also built as, was built at the turn of the last century during the same period that the Central Fire Station itself was. It served as the quarters of the Superintendent of the Singapore Fire Brigade convenient in its location at the back of what had been the first and main fire station it overlooks. Although available information identifies the bungalow as being one built in 1908, it does appear that the construction took place after the start of construction of the Central Fire Station. It was built at a cost of $7,800 with the tender for its construction “in accordance to plans and specifications” drawn up by the Municipal Engineer that was awarded to the same contractor that built the Central Fire Station, a Chia Tien Siew, in May 1909.

The bungalow sits on a terrace over the Central Fire Station.

Elevated on stilts, the bungalow features a generous amount of openings that is typical of colonial residences.

The very first occupant of bungalow when it was completed was perhaps fittingly the then Superintendent of the Fire Brigade, Montague William Pett, the first professionally trained Superintendent of the Fire Brigade, who arrived from England in 1905 and served as the Superintendent up until 1912. In his time here, Pett had seen to the construction of the fire station, seen to the modernisation of the fire brigade’s equipment and transformed the fire brigade into a respected and effective force.

The stairway up to the bungalow.

A view from the verandah.

The lovely setting in which the very spacious and airy bungalow off what is Lewin Terrace that served as the residence of Pett and the colonial Superintendents of the Fire Brigade that followed has been given conservation status since November 2005 makes it an ideal place to hide a restaurant, Flutes at the Fort, away that in the words of the restaurant itself, is “a vineyard inspired experience (that) affords a time away from the noise of the city and modern distractions”. On the basis of what I discovered, it certainly is a place that takes one far away from the noise of the city, and to a time

The verandah.

The bungalow is now used by a restaurant Flutes at the Fort.





A salute to a creator of time where time stands still

14 05 2012

In a world where time seemed to stand still that the spirit demonstrated by a creator of time was celebrated in the company of good spirits. The world, the beautifully conserved building that houses the Flutes at the Fort, was the location where the pioneering spirit of Alvin Lye, a creator of luxury timepieces, was saluted as The Glenlivet Pioneer of the Year.

A world where time seems to stand still was where a creator of time was honoured as The Glenlivet Pioneer of the Year.

The Glenlivet Pioneer of the year is one that honours the vision, passion, courage and tenacity shown by Singapore based pioneers who demonstrate the same qualities that The Glenlivet founder George Smith displayed in creating his brand of single malt whiskies The Glenlivet. The Glenlivet spirit is one that Alvin, who together with his partner Christopher Long founded Azimuth – a homegrown premium luxury timepiece brand, has certainly demonstrated in growing his brand. Despite the odds of developing a name in an area that hadn’t previously been associated with Singapore, Alvin has transformed Azimuth into an internationally established brand which enjoys equal status with other high-end brands.

Alvin Lye speaking on receiving the honour.

Azimuth has grown to be an internationally recognised brand of luxury timepieces.

A window into time?

On receiving the honour, Alvin spoke of the value of time, which also is whisky’s most important ingredient: “I am honoured to be The Glenlivet Pioneer as I can identify with the pioneering spirit that drove George Smith to create his whisky. To guide Azimuth onto the path of success and recognition will take time and we have no plans to rush or take short cuts to success. We will strive to pursue a path of excellence and innovation in watchmaking and if it takes us years to perfect a new design, so be it. With time, perfection will follow”.

The Glenlivet is the biggest selling single malt in the US. Known as “the single malt that started it all”.

As The Glenlivet Pioneering Spirit Pioneer for 2012, Azimuth will also be supported by The Glenlivet in its activities through the year, one of which will be Azimuth’s Watch Appreciation Academy in Singapore for enthusiasts and collectors keen to learn about the intricacies of watchmaking. Another activity that is being planned for that The Glenlivet is supporting is Azimuth’s participation in Singapore Showcase – a National Day event to celebrate Singapore’s creativity and enterprise, featuring made-in-Singapore brands. More information on this will be available on The Glenlivet Pioneering Spirit Facebook at www.facebook.com/TheGlenlivetPioneeringSpirit. For more information about The Glenlivet Pioneering Spirit and the Singapore Pioneers, please visit www.theglenlivet.com.sg.

Sampling The Glenlivet XXV.


About The Glenlivet

The Glenlivet is the biggest selling single malt in the US. Known as ‘the single malt that started it all’ – The Glenlivet was the first licensed distillery in the parish of Glenlivet, established in 1824 and, in turn, defined the Speyside style of whisky which became the heartland of Scotch malt whisky production. The Glenlivet was the very first malt to be promoted in the US, as soon as Prohibition was lifted. A pioneering spirit, inspired by The Glenlivet founder, George Smith, runs through the history of The Glenlivet and is just as prevalent today – epitomised by the introduction of the unique French Oak Reserve, the award-winning The Glenlivet 18 Year Old and The Glenlivet 21 Year Old Archive and The Glenlivet Cellar Collection.


About Azimuth

Founded in 2004, Azimuth is a luxury watch manufacturer, focused on creating avant-garde designs for mechanical timepieces. Azimuth watches sport a variety of styles never before seen in the world of luxury horology, from racecar instrument panels to gaming tables to robots.

Azimuth is a luxury watch brand that manages the entire mechanical timepiece production from research, development and manufacturing, to retail, distribution and delivery worldwide. Azimuth’s foundational pillars that guide its watch-making philosophy are: avant-garde designs, mechanical complications, and Swiss-made quality. In June 2009, Azimuth established its exclusive atelier in Bienne, Switzerland, to research, model and assemble its watches.

Azimuth is distributed in Europe, North, South and Central Americas, the Middle East and Asia. In Asia, its distributorships are in Japan, Hong Kong, Singapore, Malaysia and Indonesia and soon to be in China. Azimuth also owns and manages its own Exclusive Boutiques in Singapore.

For more information, visit www.azimuthwatch.com. Join Azimuth on Facebook at www.facebook.com/azimuthwatch


Another view of the Flutes at the Fort.





A Bangsawan revival by the river

16 04 2012

The Singapore River has played a vital role in the settlement and early development of Singapore, long-serving as a gateway for the arrival of influences which has given Singapore its rich cultural diversity. While that role has since been minimised by the shift in the means by which people arrive to our shores as well as with the cutting-off of the river from the sea, it is nice to see that it still, as a venue, has a role to play in keeping the traditions that it previously played a role in bringing in, alive with an initiative ‘Regenerating Communities at Empress Place’. The initiative, conceived by The Old Parliament House Limited which runs The Arts House at Empress Place saw a three-instalment programme curated by Jeremiah Choy that featured performances of fading performing art-forms which were once common on our streets. This included a Chinese puppet theatre show and in its third and last instalment, a very rare Bangsawan performance by Singapore’s last exclusive Bangsawan troupe, Sri Anggerik Bangsawan at the ACM Green.

The third instalment of the first series of the 'Regenerating Communities at Empress Place' initiative saw a rare performance of Bangsawan or Malay Opera.

The first series of 'Regenerating Communities at Empress Place' was curated by Jeremiah Choy who is seen introducing Noor Azhar Mohamed of the Sri Anggerik Bangsawan troupe.

A Bangsawan performer before the performance.

Bangsawan or Malay Opera, is an art form that has its origins in commercial 19th Century Parsi theatre, arriving first in Penang at the end of the 19th Century via travelling troupes coming from Bombay. The name ‘Bangsawan’ is a combination of two words, ‘bangsa’ which means ‘race’ or ‘a group of people’ in Malay, and ‘wan’ which is a reference to ‘stature’. Being performed purely for entertainment, Bangsawan was always an evolving form that adapted very much to the taste of the audiences it attracted and at the height of its popularity in the 1920s and 1930s, drew audiences which included those from the other races across society. The typical Bangsawan performance would include both dialogue and song and dance segments which incorporates influences across several cultures and involves very elaborate stage sets, make-up and costumes, making the performances a very colourful and musical experience.

Bangsawan involves very elaborate stage sets as well as make-up and costumes - and requires quite a fair bit of preparation prior to each performance.

A performer having her make-up applied.

The clasped hands of a performer waiting for her make-up to be done.

The performance over two evenings over the weekend was of an excerpt from Dang Anum, the retelling of a touching tale which revolves around the unfortunate Dang Anum, the daughter of Sang Rajuna Tapa – a Minister in the court of Sultan Iskandar Shah (who ruled Singapore from 1399 to 1402). The performance was a special one for the troupe, Sri Anggerik Bangsawan, which traces its origins to 1986, when its founder, the late Haji Hamid Ahmad, formed it with the aim of preserving what was already then a vanishing art form. The performance of the excerpt represents a comeback for the troupe which took a two-year break due to Pak Haji Hamid’s(as he is affectionately known) illness and eventual passing last year. The performance, though brief, required much love and effort to put together, was one that the troupe dedicated as a tribute to their late founder.

Performers in full costume.

On the evidence of the thoroughly enjoyable performance, it would be certainly be a wonderful experience to be able to see a full performance of Dang Anum, which the troupe has previously performed twice – once in the early 2000s and a second time as part of a larger performance in 2007. The troupe which does not have any immediate plans to stage a full performance, does hope to be in a position to put what must be an ambitious attempt at a large scale in one to two years. It one we are told that which will be very elaborate, featuring a Javanese epic tale that was written by Pak Haji Hamid, and one on which the troupe certainly would require support of various bodies and groups supporting the performing arts, as well as sponsors on.

The opening of the performance.

Scenes from the performance.

More scenes from the performance.

The audience was captivated by the performance.





75 feet above the harbour

30 03 2012

From a vantage point 75 feet (about 23 metres) over Singapore’s former harbour, officers with the Harbour Division of the Preventive Branch of the Department of Customs and Excise (which later became Singapore Customs), stood watch over the Inner Roads of the harbour for more than three decades. The vantage point, a panoramic lookout tower that we still today, was part of the Customs Harbour Branch Building built over an L-shaped pier along the waterfront at the end of Collyer Quay. The building and pier, built at a cost of S$1.8 million, was completed in October 1969. The complex housed the 300 strong force of the then Harbour Division, as well as provided berths and maintenance facilities (which included a slipway) for some 35 launches and speedboats of the Division when it first opened. The building also provided cargo examination facilities and its construction allowed the Division to move from its somewhat makeshift premises in a godown in Telok Ayer Basin.

What is today a posh dining destination, Customs House, with its very distinct 75 foot lookout tower, was formerly the Customs Harbour Branch Building. It was completed in October 1969 and housed the Harbour Division of the Customs Preventive Branch.

The Customs Harbour Branch Building in 2006 (source: URA site on Conservation Matters).

Collyer Quay in July 1974 seen beyond the Detached Mole, a breakwater that sheltered the Inner Roads from the opened Outer Roads. The Customs Harbour Branch Building and its distinct 75 foot tower is seen on the extreme left of the photograph (Photo courtesy of Peter Chan).

While 75 feet in the context of what now surrounds the former Customs complex, the tower allowed customs officers to keep a round-the-clock watch over the harbour for small boats attempting to sneak dutiable goods into Singapore. The octagonal shaped and fully air-conditioned watch tower which is supported by a cylindrical base provided a panoramic view which extended beyond the Inner Roads to the mouth of the Singapore River, the Geylang River and Tanjong Rhu. Officers spotting a suspicious boat could then alert their colleagues manning the speedboats which were on standby by the pier who would then head out to intercept the suspicious boat.

A side elevation of the former Customs Harbour Branch Building with its very distinct lookout tower (source: URA site on Conservation Matters).

At the bottom of the 75 feet climb up a spiral staircase to the lookout tower - reminiscent of climbs up several lighthouses I've visited.

In between heavy panting, I managed to appreciate the view halfway up.

At the end of the 75 feet climb - a view of the lookout tower's ceiling.

Looking down at the cause of my heavy breathing.

Use for the building and the pier in its intended role ended with the construction of the Marina Barrage which cut what were the Inner Roads of the old harbour off from the sea and the building then under the Maritime and Port Authority’s charge was passed over to the Singapore Land Authority in 2006. Customs House was given conservation status in 2007 and was reopened as a dining destination under the management of Fullerton Heritage, which also manages the former Clifford Pier and the Fullerton Hotel. The tower itself is however disused and remains inaccessible to the general public.

At the top of the lookout tower.

The lookout tower no longer commands a view of a harbour littered with bumboats, twakows and tongkangs, but of the new world that is Marina Bay.

Show me the money! An interpretation perhaps of the new view - as seen in the reflection of a window of the lookout tower offered by one of the installations for i Light Marina Bay 2012 - Teddy Lo's MEGAPOV.

Seeing double - BIBI's Bibigloo and a reflection of it as viewed from the lookout tower.





Rediscovering a 40 year old icon in a new sea of light

12 03 2012

I’ve often wandered down Collyer Quay in the evening in the days when the smell of the sea filled the air to catch the evening’s breeze. Glancing out to where the sky met the sea, the view in the dark was one of the flicker of the sea of lights of the numerous ships that lay at anchor, interrupted by the sweep of the beam that shone from Fullerton Light – the lighthouse that stood atop the Fullerton Building – then the General Post Office (GPO). It was always a fascinating sight for me – one that I was always thrilled to take-in. That was years ago and the world as I had known it then, has been transformed to the glow of lights that seemed to have grown out of the seeds planted by of the lights of the old harbour. The glow is the new world that is Marina Bay, a world that glitters with the gold that the old harbour it grew out of has given. The new glow – brighter than the old, makes Marina Bay a world that is one to marvel at and one that for three weeks will glow even brighter with the colours and the lights that i Light Marina Bay 2012 brings to it.

Coming of age - one of the older icons in the brand new Marina Bay will be bathed in a sea of light during i Light Marina Bay 2012.

The highly anticipated festival, the second edition of i Light Marina Bay, was opened officially by Mr Tharman Shanmugaratnam, Deputy Prime Minster and Minster for Finance and Minister for Manpower on Friday. At the ceremony at the Promontory @ Marina Bay, Mr Shanmugaratnam spoke of his pleasure to be at Marina Bay, which he said attracted a record 23 million visitors last year, “to be immersed in the energy of a new downtown which has been evolving” and observed that the many developments in the area have transformed the skyline, and “imbued our city with more excitement, colour and vibrancy”. Mr Shanmugaratnam in his speech, spoke of the ‘software’ that was required to make and sustain a place – such as the festival, which serves to bring the community together to enjoy the place, and also help in defining an identity for the Bay. The Deputy Prime Minister also observed that “do so through a display of beautiful light art installations is creative, fun and delightful”.

Mr Tharman Shanmugaratnam speaking at the opening ceremony of i Light Marina Bay 2012.

Launching the festival.

After Light, an installation involving projections on shipping containers, is seen behind the stage at the opening.

Street performers - who were present at the opening, will also feature in the area during the period of the festival (top photo taken with LUMIX GF-3).

Fun and delightful the festival certainly has, in the first few days of the opening, proved to be. The festival’s 31 installations drew large crowds to the bay area over the weekend and judging from the number of visitors – one of the crowd favourites must be the Light of The Merlion – the brainchild of Nuno Maya and Carole Purnelle of OCUBO. OCUBO translates into “The Cube” in Portuguese, a name which reflects the geometric nature of the team’s projection work which for the work commissioned for i Light Marina Bay involves the projection of a combination of colours on the surface of the Merlion that are determined purely by members of the public through an interactive screen at the site. It is through this interactivity – a feature of all the group’s work, that the colours of the 40-year-old much-loved icon are changed through the evening – something which is designed to create a memorable experience with which the Merlion can be rediscovered with members of the public placed in the role of the creator. Based in Sintra, a delightful hilltop town in Portugal which boasts of the magical Sintra National Palace, OCUBO – an art and multimedia studio dedicated to light projects has presented light, multimedia and interactive art works in countries such as Japan, Australia, Singapore, Israel, Germany, the Netherlands, Slovenia, the Czech Republic and Poland and also conceived, produced and directs Portugal’s only light festival, the LUMINA Light Festival.

Light of The Merlion allows members of the public to play the role of the creator through an interactive panel which lets the public choose the colours to be projected on the much-loved 40-year-old icon (photo taken with LUMIX GF-3).

Nuno Maya (left), one half of OCUBO, at the opening ceremony (photo taken with LUMIX GF-3).

The many colours of the Light of The Merlion ... (photo taken with LUMIX GF-3)

After the opening ceremony, Mr Shanmugaratnam and guests were also able to take a tour of the bay by boat – a wonderful way of not just taking-in the sights around the bay, but also to have an excellent view of The Light of the Merlion and other installations that are around the bay’s waterfront including the festival’s largest projection Garden of Light, and the unmistakable red glow in the dark – BIBI’s Bibigloo at the Promontory @ Marina Bay. The eye-catching installation is an igloo made of 250 plastic jerry cans and is a replacement igloo intended to spread awareness of global warming and melting glaciers. BIBI has since 1992, attempted to explore man’s relationship to the environment, as well as the capacity to confront the contradictions with regard to waste production, through the use of everyday objects made from materials such as plastic using light to give life to his installations.

The eye-catching red glow in the dark - Bibigloo made out of 250 plastic jerry cans aims to raise awareness of rising temperatures and melting glaciers with a replacement plastic igloo (photo taken with LUMIX GF-3).

BIBI (right), the creator of Bibigloo.

The Festival Director, Ms Mary-Anne Kyriakou (centre) with artists present at the opening and Mr Mark Goh of URA.

The trial of light that I followed after the boat ride, somehow compelled me to take a walk towards the ArtScience Museum and onwards to the seating gallery at the Float @ Marina Bay, under which there are several other interesting installations. One – Sweet Home, which a mention of was made in my previous post, is an attempt by Swedish based Aleksandra Stratimirovic to make ugly places pretty. Ms Stratimirovic’s attempt to create a homely atmosphere through the use of lanterns must have been a very good one as the artists had used the installation to hold an opening night celebration late into the night.

Sweet Home an installation by Swedish based Aleksandra Stratimirovic under the seating gallery of the Float @ Marina Bay, aims to make an ugly place pretty - colourful forms of lanterns used in the installation are designed to spread warmth and homeliness in the urban environment (photo taken with LUMIX GF-3).

The artists certainly gave their thumbs-up! They found Sweet Home homely enough to spontaneously hold a party there on opening night (photo taken with LUMIX GF-3).

i Light Marina Bay 2012 is on until 1 April 2012 and several fringe activities and events will be held during the weekends – for a listing, do visit the events page on the i Light Marina Bay 2012 website. Information on Boat Taxis which provide an excellent way to see the installations on the waterfront also operate during the weekends, departing every 15 minutes between 7.30pm to 10.00pm from Fridays to Sundays from 10 March to 1 April and cost $4 per trip – more information is also available on the website’s events page.





Dawn over the new Singapore

1 03 2012

Finding myself early one morning in a delightful old world I once knew that now is surrounded by a new world, I was drawn to the eerie blue glow that now colours the trusses of the gorgeous Anderson Bridge to venture in that direction and a little beyond it. As I walked past the Boat House – I half expected to be greeted by that joyful chaos that would have been the harbour of old, coloured by the icons of the old Singapore – that of the bumboats, tongkangs and towkows that Singapore’s success depended on. It wasn’t the old harbour however that greeted me, but a sea of calm coloured by the glow and the hues of the lightening sky, a sea without the chaos of old, surrounded by the icons of the Singapore we have become.

An icon of a developing and newly independent Singapore, the Merlion, stares at the icons of the new Singapore across a body of water that played an important role in Singapore's development.

The sea that I speak of is actually not anymore a sea. Bound by fingers of land carved out from the depths of the old harbour, it is now a body of sweet water, Marina Bay – a resource to supplement Singapore’s growing thirst for a resource it never has enough of. The icons we see around it are now the icons of the present and the future – representative of the Singapore we’ve become perhaps. One is the Merlion – a curious and unlikely fusion which is the icon of a confident and developing Singapore that emerged from the darkness that was the uncertainty of the early days of our independence. The Merlion stares towards even more curious edifices on the piece of land that sits over the old outer harbour – the edifices of the Marina Bay Sands Complex – which silhouetted against the glow of the lightening sky is a sight to behold.

The sunrise over a new Singapore.

As I sat in quiet contemplation marvelling at the magnificence of the sight that was before my eyes, I tried hard to imagine the world that once had been there, a world that I deeply miss. The gentle undulations of the water’s surface which was otherwise undisturbed served to remind me that world is no more, replaced by a world I often struggle to come to terms with. It is this new world however that I must now must love – one that when seen in the calmness and light of the new day, is one that certainly is hard not to grow love.





A lifelong passion pulling strings – the portrait of a master puppeteer

28 02 2012

Living in a world which seems to have little place for practices of a past that it seems to want to forget, it is often comforting to discover that there are some traditions, out-of-place in the modern world as they may seem, that have refused to vanish. One discovery is the Sin Hoe Ping Puppet Troupe (新和平加礼戏班), a very traditional Heng Hwa puppet troupe which dates back to the 1930s which owes its continued existence to the devotion of its troupe leader and master puppeteer, Mr. Yang Lai Hao. The troupe made a recent appearance at the ACM Green with a two evening performance as part of a series of events that are being held as part of the Regenerating Communities @ Empress Place initiative at which Mr. Yang was kind enough to take questions from the audience.

Mr. Yang Lai Hao of the Sin Hoe Ping Puppet Troupe.

Various forms of puppetry were once commonplace all over much of the Far East and in the Indian Sub-continent, performing an important social function in the passing down of social and religious values through the retelling of traditional tales and folklore, besides providing the evening’s entertainment. This is seen throughout much of the Hindu influenced world where many different forms of puppetry have been effective in passing down the stories from the Hindu epics through the ages and is still relatively commonplace in many parts of South East Asia. Even in Singapore, which does by itself not much of tradition in puppetry, puppet shows were once a common sight – with several troupes entertaining those on the streets with forms of puppetry which had been imported by the many immigrants from Southern China arriving at her shores. Puppet shows in Singapore served to entertain the young, in the same way various forms of Chinese Opera entertained the older folks and they made an appearance during temple festivals and were also sometimes seen at Chinese weddings. At their height, which was before the war, a newspaper report had as many as 25 troupes that were active – the same report in the Straits Times in 1957 also touched on the decline of the tradition – even then. Today, there are but a few of these that have survived the onslaught of modern society – with Sin Hoe Ping being the only surviving Heng Hwa puppet troupe in Singapore.

The retelling of the Journey to the West by the Sin Hoe Ping Puppet Troupe at ACM Green.

Different forms of puppetry has existed in much of Asia and has performed an important social function.

It was in fact in 1957 that the dedicated Mr. Yang, began his active involvement in the art which he had developed a fascination for watching his grandfather, who brought the troupe over from Putian in Fujian Province in China in the 1930s, perform. He started first with playing the luo – the Chinese gong before learning the ropes first from his grandfather, and with his grandfather’s passing, from the other members of the troupe learning most of what was needed by the time he turned 15. Mr. Yang put his continued interest in the art form in the early years to the monetary rewards it offered – he recalled being paid 50 cents for a performance – what he felt was a handsome sum then as all it took was 5 to 10 cents to feed a person. Mr. Yang reckons that it was only at 25 that he eventually mastered all the elements of puppetry including what was needed to support performances front and back stage and also in the setting up of the stage.

Mr. Yang's active involvement with the art form started with him playing the gong in his grandfather's troupe at the age of 7.

Mr. Yang describing the beginnings of his involvement in puppetry as a child, as Mr. Jeremiah Choy - Creative Director of Regenerating Communities @ Empress Place, looks on.

Mr Yang, who is currently 62, is one who exudes passion for the art, having the boundless energy required to keep the troupe running. Although he has had thoughts of leaving puppetry, he says that it is something he can’t really contemplate until he is able to find a successor to continue with the tradition and says he asks of his god to allow him to live to 88 to enable him the time to find and train a successor. He is still actively involved in every aspect of running the troupe – from recruiting and training new members, making new puppets to replace old and worn ones, scriptwriting and even in setting up the stage. Finding it difficult to find willing accomplices locally – especially with the Heng Hwa dialect which the performances are in fast dying out, the troupe now features three puppeteers who have been recruited from Putian. The complexity of puppetry – especially in the manipulation of the string puppets or marionettes whilst singing or speaking at the same time makes it difficult to master the art and Mr. Yang feels it takes up to 10 years to master this. Learning to make the puppets is also necessary to support the art and this is also difficult to master.

Mr. Yang - who at 62, still exudes passion for the art, hopes to find a successor to lead the troupe and continue the tradition.

The three puppeteers performing with Mr. Yang have been recruited from Putian, China.

The art of manipulating the puppet and singing at the same time is one that is difficult to master.

It takes up to 10 years to master manipulating the strings of the puppets.

While the odds are certainly stacked against Mr. Yang in his quest to find a successor, especially where continued interest in the art form is threatened not just by the modern society’s lack of desire to keep traditions alive and by the advent of the multimedia age, but also in a society that has abandoned the linguistic traditions of our forefathers for a common language, there is hope. Mr. Yang may find this in his closer to home – his daughter, Ms. Yang Shi Qin, has shown some interest in the art form – although Mr. Yang is yet sure whether that will be enough for her to take over from him. With that there is hope – hope that a tradition that may otherwise be forgotten do not go the way of many others we have lost and a hope that there still are a few reminders of who we are and where we had come from.

The Sin Hoe Ping Troupe's stage at ACM Green dwarfed by the towering edifices of modern Singapore in the background. The role of traditional practices and art forms have been minimised by the arrival of the modern world to Singapore.

Portraits of Sin Hoe Ping’s Puppeteers





A 20¢ ice-ball and one cool customer

10 12 2011

The 20 cent ice-ball makes a comeback this weekend (10 and 11 Dec 2011) at two locations in the Bras Basah – Bugis precinct, at the National Heritage Board’s (NHB) Heritage along Footpaths project. Once commonly found snack vendors such as ice-ball and kacang puteh seller, along with barbers, fortune tellers and cobblers, have been brought back for the project, and on the evidence of the crowds that turned up the last weekend, were a huge hit.

The 20 cent palm sugar (Gula Melaka) and syrup laden ice-ball makes a come back this weekend,

Evaporated milk is another favourite topping!

Seen amongst the crowds last weekend was one cool customer – a young lady, who discovered entirely on her own, how best to eat that 20 cent ice-ball. It was certainly not with the sheet of plastic that is used for hygienic reasons these days … but with her bare hands … allowing the sticky syrup laden melting liquid dribble down her chin and through her fingers. And when it did get too cold for her tiny fingers, she found herself a wonderful solution ….

Now, it doesn't quite feel right with the sheet of plastic ...

... now that feels a lot better ....

oops ... it's melting!

And, brrr ... it's cold!

But delicious!

Yummy!

My fingers are frozen ... now what do I do?

I guess that's what the pocket in my bib is for!

Now for a second bite.


About The Heritage Along Footpaths project:

The Heritage Along Footpaths project seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). At each of the sites, tradesmen that were once commonly found along alleyways or five-foot ways – namely street barbers, cobblers, fortune tellers, ice-ball sellers and kachang puteh sellers – will ply their wares at prices of the past. Research conducted on these once-common trades will also be on display for the public to learn more about Singapore’s history and heritage.

Heritage Along Footpaths is part of the NHB’s initiative to inject greater vibrancy into the Bras Basah and Bugis precinct, an area rich in the arts and heritage. Said Mr Alvin Tan, Director, Heritage Institutions & Industry Development: “Through this project, NHB hopes to re-introduce once familiar street sights and businesses in the arts and cultural district and in doing so, re-acquaint Singaporeans with trades that were once an integral part of our community heritage. It also presents the perfect opportunity for younger Singaporeans to experience first-hand the early lives of their grandparents, and, in the process, reinforce bonding across the generations who share a common history and identity.”






Cobbler, Cobbler, Mend my Shoe

7 12 2011

Sidewalk cobblers, a rare breed now in Singapore, can still be found if one looks hard enough. Once a common sight along sidewalks, five-foot-ways and back lanes, the age of disposables and trends has seen a falling demand for the trade. My mother frequently visited the sidewalk cobbler to have her shoes mended or resoled. I remember many of them around the sidewalks and footpaths around Raffles Place back in the 1970s and they did a roaring trade with a steady stream of customers – particularly ladies whose shoes needed a broken heel fixed – seated patiently on a stool, and feet in flip-flops the cobbler provided, as the cobbler did a quick fix. The sidewalk cobbler is one of the trades that the National Heritage Board (NHB) has brought back to bring life back to the footpaths in their Heritage along Footpaths project which was launched last weekend – you would be able to catch them in action again for one more weekend (10 and 11 Dec 2011) at two locations in the Bras Basah and Bugis precinct – the Stamford Arts Centre and the Singapore Art Museum, where you would be able to have a pair of shoes fixed at prices that we have not seen since the good old days.

The sidewalk cobbler, once a common feature in Singapore, has seen falling demand for his services in the age of disposables and are now more commonly found in other parts of South East Asia like this one in Kluang, Malaysia.

Tools of the trade - now seldom seen in Singapore.

Replaced by modern conveniences such as roll-on shoe polish and ...

... the tin of glue.

The sidewalk cobbler at NHB's Heritage along Footpaths where you can have your shoes fixed at 50 cents a pair

The sidewalk cobbler at work.

A close-up of the cobbler.

The customer might have been provided with a pair of flip-flops and a stool to sit on by a sidewalk cobbler as she waits for that quick shoe fix.


About The Heritage Along Footpaths project:

The Heritage Along Footpaths project seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). At each of the sites, tradesmen that were once commonly found along alleyways or five-foot ways – namely street barbers, cobblers, fortune tellers, ice-ball sellers and kachang puteh sellers – will ply their wares at prices of the past. Research conducted on these once-common trades will also be on display for the public to learn more about Singapore’s history and heritage.

Heritage Along Footpaths is part of the NHB’s initiative to inject greater vibrancy into the Bras Basah and Bugis precinct, an area rich in the arts and heritage. Said Mr Alvin Tan, Director, Heritage Institutions & Industry Development: “Through this project, NHB hopes to re-introduce once familiar street sights and businesses in the arts and cultural district and in doing so, re-acquaint Singaporeans with trades that were once an integral part of our community heritage. It also presents the perfect opportunity for younger Singaporeans to experience first-hand the early lives of their grandparents, and, in the process, reinforce bonding across the generations who share a common history and identity.”






The five-foot-way barber

6 12 2011

Once upon a time, in a Singapore we have long forgotten, you probably wouldn’t bat an eyelid seeing someone having his hair cut on the five-foot-way. These days, the five-foot-way, sidewalk, roadside or back alley barber, as he might be known as, is less of a common sight in a Singapore that has abandoned its previous life on the streets for the more comfortable air-conditioned premises we partake of most of our daily activities in. The sidewalk barber did made a reappearance at two locations last weekend in a part of Singapore that I will from my previous interactions always associate with that Singapore they were commonly found in. This was part of the National Heritage Board’s (NHB) Heritage along Footpaths initiative, which saw not just the once familiar sight of barber chairs and mirrors mounted on walls, but also the likes of cobblers, fortune-tellers and ice-ball vendors making an appearance along the five-foot-way.

Old style barbers - those along the sidewalks and in barbershops always started with the customary spray.

I myself have never had the experience of having my hair cut along a five-foot-way or in a back lane, my father preferring to take me to the more santised premises of the neighbourhood Indian barber shop with its mirror lined walls I loved to stare into and the unmistakable smell of talcum powder and hair oil. I certainly don’t remember prices that the NHB has set – 50 cents, for haircuts … remembering them to be $2 perhaps when I was able to make my own visits to the barber in the early 1970s. I do remember however that a neighbour of mine did frequent a five-foot-way barber in his old neighbourhood at Ah Hood Road at which he paid 70 cents for his monthly crop.

Closed cropped hairstyles were a standard of the sidewalk barbers.

I was never fond of the Indian barber – who on my father’s instructions never failed to give me a close-crop or a crew-cut and later in life when I could make my own choice, I preferred (as most of my peers did) to visit the Malay barber instead – one Bugs Bunny, in Toa Payoh opened at the start of the 1970s and is still right where it opened, with its decor not having changed in four decades. The Malay barbershop grew in popularity in the 1970s as they delivered crops that in line with the latest styles. Many of the popular Malay barbershops were as a matter of fact run by barbers that had come off the streets – one of the very successful chains – Sri Dewa was started by a certain Mr Ramadan bin Fahmi who had started his trade under a cherry tree in Thomson Road.

Barber chairs making a reappearance on the five-foot-way.

The barbers would be returning to the two locations this weekend (Sat 10 Dec 2011 and Sun 11 Dec 2011 – 10 am to 5 pm), the Singapore Art Museum (SAM) and at the Stamford Arts Centre. Based on what a satisfied customer I met at the SAM said, be prepared for a queue which he said had already formed before the start of business at 10 am for a crop at prices which the gentlemen said “you can’t find in Singapore anymore”.

Tools of the trade being used - a comb and a pair of scissors.

Giving a shave - no longer used is a blade sharpened on a strap of leather but one with a disposable razor.


About The Heritage Along Footpaths project:

The Heritage Along Footpaths project seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). At each of the sites, tradesmen that were once commonly found along alleyways or five-foot ways – namely street barbers, cobblers, fortune tellers, ice-ball sellers and kachang puteh sellers – will ply their wares at prices of the past. Research conducted on these once-common trades will also be on display for the public to learn more about Singapore’s history and heritage.

Heritage Along Footpaths is part of the NHB’s initiative to inject greater vibrancy into the Bras Basah and Bugis precinct, an area rich in the arts and heritage. Said Mr Alvin Tan, Director, Heritage Institutions & Industry Development: “Through this project, NHB hopes to re-introduce once familiar street sights and businesses in the arts and cultural district and in doing so, re-acquaint Singaporeans with trades that were once an integral part of our community heritage. It also presents the perfect opportunity for younger Singaporeans to experience first-hand the early lives of their grandparents, and, in the process, reinforce bonding across the generations who share a common history and identity.”






Putting life back on the footpaths

2 12 2011

An interesting project that is being rolled out by the National Heritage Board (NHB) this weekend is Heritage Along Footpaths, which seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). On this weekend and on the next, members of the public will find tradesmen such as traditional street barbers, ice-ball sellers, fortune tellers and kacang puteh sellers peddling their trades and wares at prices that we were used to in the heyday of street tradesmen – a haircut will cost a mere 50 cents and a stick of kacang puteh will go for 20 cents. The tradesmen will be present at the two locations on 3 and 4 December 2011 as well as 10 and 11 December 2011 from 10.00am to 5.00pm each day (more information including a map of the locations of the two sites can be found at www.nhb.gov.sg/brasbasahbugis/BBB_KeyEvents.html). See also more recent posts on the Five-Foot-Way Barber and Cobbler.

The Heritage Along Footpaths project seeks to re-introduce trades that were common in the past such as traditional street barbers ...

... fortune tellers ....

... and cobblers.

About The Heritage Along Footpaths project:

The Heritage Along Footpaths project seeks to re-introduce trades that were once common at two designated sites within the Bras Basah and Bugis precinct – the Singapore Art Museum and Stamford Arts Centre (along the mural wall facing Middle Road). At each of the sites, tradesmen that were once commonly found along alleyways or five-foot ways – namely street barbers, cobblers, fortune tellers, ice-ball sellers and kachang puteh sellers – will ply their wares at prices of the past. Research conducted on these once-common trades will also be on display for the public to learn more about Singapore’s history and heritage.

Heritage Along Footpaths is part of the NHB’s initiative to inject greater vibrancy into the Bras Basah and Bugis precinct, an area rich in the arts and heritage. Said Mr Alvin Tan, Director, Heritage Institutions & Industry Development: “Through this project, NHB hopes to re-introduce once familiar street sights and businesses in the arts and cultural district and in doing so, re-acquaint Singaporeans with trades that were once an integral part of our community heritage. It also presents the perfect opportunity for younger Singaporeans to experience first-hand the early lives of their grandparents, and, in the process, reinforce bonding across the generations who share a common history and identity.”





Kois swimming on the Fullerton’s façade

1 12 2011

Being fond of graphic light projections on our heritage buildings since seeing one at my old school building last year, I was delighted to be invited for one at the Fullerton Hotel last evening. The show of light during which the hotel’s iconic façade came alive with creepers growing, koi fishes swimming and fireflies fluttering – all part of a 3D animation and projection show, spectacularly brought to a close the year-long celebrations for the 10th Anniversary of The Fullerton Hotel Singapore.

The Fullerton's gift for its 10th Anniversary - a spectacular show of lights.

Projection techniques were employed for the show that were showcased for the first time in Asia. And for this, the hotel collaborated with CPG Productions, the Singapore firm which was behind the opening and closing ceremonies for the inaugural Youth Olympic Games. The 10 minute show took two months of preparation and was inspired by the hotel’s transformation from the General Post Office Building to the heritage hotel it is today, involving a team which included an architect as well as experts in 3D modelling and animation, concluding with a holiday-themed finale to usher in the festive season.

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Exposing the lotus

30 09 2011

An exhibition worth visiting at the Fullerton Hotel’s East Garden Foyer is the Lotus Fantasia Photography Exhibition which features the work of a highly acclaimed photographer from Hong Kong, Dr. Leo K. K. Wong, which was launched on 28 September 2011 and will be on until 23 October 2011. What the exhibition promises the visitor is a captivating display of 20 masterpieces of Dr. Wong’s work in what is his first photography exhibition in Singapore.

The Lotus Fantasia exhibition is on at the Fullerton Hotel up until 23 October 2011.

Viewing the prints on display, one is certain to be taken by the diffusion of soft colours which lend a somewhat dramatic quality to each of the images of lotuses captured in a way where they reflect the essence of the season they were captured in. The images are taken using a multi-exposure technique and telephoto lenses, and are not post-processed in any way. Inspiration for the images is drawn from Chinese ink painting – in which Dr. Wong has a deep interest in (along with other forms of traditional Chinese art), the effect of the technique mimicking brush strokes of Chinese ink painting giving the photographs a ink paiting like quality. On the subject of lotuses, Dr. Wong feels that they “evoke different feelings with seasonal changes, but remain utterly beautiful all the same throughout the year”. He hopes that through the exhibition, the public’s appreciation of the lotus is enhanced.

Autumn Fantasy, 1983.

The exhibtion is held as part of the Fullerton Heritage’s Art in the City Programme. Dr Wong’s works are on sale and has pledged the proceeds of the sale to Beyond Social Services, an organisation which focuses on improving the lives of families and individuals from disadvantaged low-income backgrounds.

Dr Wong autographing his book at the opening.

Bliss, 2009.


Lotus Fantasia – Photography by Leo K. K. Wong

‘Lotus Fantasia’ features 20 works by veteran photographer Dr Leo KK Wong, who embraces the state-of-the-art multiple exposure and telephoto lens techniques. The works of Dr Wong are both poetic and modernistic with a sublime beauty drawn from Chinese ink painting. The fleeting moments of the lotus in different seasons are meticulously captured in this superb series of photographs.

29 September to 23 October 2011
10am to 7pm
The Fullerton Hotel Singapore, East Garden Foyer






The case of the missing fountain

3 09 2011

There is a pretty little fountain whose whereabouts are not known. It was a fountain which graced the courtyard of that red brick library along Stamford Road we all loved, and hasn’t been seen since the National Library moved to new premises where an Empress once stood. The red brick library has since bid farewell to this world, going the way of several other easily identifiable buildings that were once scattered around the foot of Fort Canning Hill and all that is left are two pillars to remind us of its existence, leaving little else behind. What seems to have disappeared with the building is the fountain, a pretty Renaissance styled one and a more recent addition to the courtyard of the library.

The Renaissance style fountain that was in the courtyard of the old National Library (photo courtesy of Mr S N Tan).

Those who frequented the library in the late 1990s up to its closure in 2004 may remember the courtyard café and the fountain that came after a renovation of the library in 1997. The previously closed courtyard was then opened up to the public. The National Library’s Singapore Infopedia pages mentions: “the Courtyard was constructed as part of the National Library Building which opened in 1960. The area was not open to the public then and it appears that no (staff and public) activities took place there. The Courtyard was renovated in 1997 when the National Library Building went through major renovation and upgrading works. It subsequently opened with a new look: containing a café and a renaissance fountain, in January 1998. The Courtyard can accommodate up to 120 people”.

The courtyard café and the fountain was a much later addition to the National Library (postcard image courtesy of Mr S N Tan).

The Renaissance Fountain is also mentioned in detail: “the National Library Board Chairman, Dr Tan Chin Nam mooted the idea of a renaissance fountain in the middle of the Courtyard in keeping with the notion of Singapore enjoying a renaissance of the arts. The fountain design is composite of pre-manufactured components put together. The base is a quatrefoil and superimposed square-emblematic of the transition from the medieval or Gothic into the quattrocento (the totality of cultural and artistic events and movements that occurred in Italy during the 15th century, the major period of the Early Renaissance). This design was also used quite extensively by Italian artists of the period. The fleur-de-lis at the top is unique, as it is the symbol of Florence: the birthplace of the renaissance”.

Based on information at the National Library's Singapore Infopedia site, the idea was mooted by the then NLB Chairman, Dr Tan Chin Nam, to signify Singapore enjoying a renaissance of the arts (photo courtesy of Mr S N Tan).

While the fountain is a recent addition and probably not really representative of the old National Library as we wish to remember it, it does represent a period of revival, not just for the red brick building, but also one of public consciousness for the conservation of heritage. There is a chance that it may still be intact – it seems it may have been passed on to the Singapore Management University (SMU) which now dominates the Stamford Road area (although no one I have asked who are connected with SMU seems to have seen it). And if it can be found, it should really be put on public display, not just as a reminder of the red brick library, but for what the red brick building, in those final days, had stood for.

Another view of the courtyard and fountain (photo courtesy of Mr S N Tan).





The river I once knew

7 07 2011

I first set eyes on the Singapore River in my very early years when I accompanied my mother on her regular forays to the department stores in Raffles Place. To get to them, we would cross the river on the wonderfully designed Cavenagh Bridge. The open balustrades of the bridge offered an excellent view of the comings and goings on the busy river. It was fascinating to the curious child that I was, to watch the heavily laden wooden twakows (cargo boats) straining upriver with the cargoes that their much larger, steel-hulled cousins in the inner harbour had fed them. Even more fascinating to me was the spirited movement downriver of the boats whose bellies had been emptied by the industrious coolies at the many godowns (warehouses) lining the river.

Cavenagh Bridge.

Watching the coolies at work fascinated me more than seeing the passing of the twakows. I would stop and stare at the men as they took small but quick steps across the narrow planks that linked the boats to the stepped, concrete banks of the river. The planks would strain under the weight – not so much that of the bare-bodied men themselves, but of the load that each balanced on one shoulder. The loads seemed not just to outweigh the men who bore them, but to also be larger than the coolies’ lightly built frames. At times it looked as if the planks were too narrow, but I never once saw those men lose the ability to balance themselves and the offset loads that they carried.

A scan from an old postcard showing the river in busier days, filled with the twakows that transported goods from their steel hulled cousins upriver to the numerous godowns that lined the river.

In those days, besides the colourful distractions that the twakows, godowns and coolies provided, the waterway had a reputation for its less than pleasant smell. In fact, many visitors who arrived prior to the late 1980s remember Singapore for the river’s smells. It was an odour that I well remember myself and was reason enough for my mother to avoid stopping by the very popular Boat Quay food stalls. These had fitted themselves onto the narrow strip of land between the back of the buildings that lined the river (one was the Bank of China Building) and the river itself.

The (old) bank of China Building set against the new building has been one of the few survivors of the area around the river since I first became acquainted with the area in the late 1960s.

Much of what went on in and around the river had indeed contributed to how it smelled, as well as to the murky waters that the twakows ploughed through. A massive effort to clean up the river began in 1977 and meant that life in and around the river as it was, would soon be a thing of the past. The twakows, a feature of the river for over a hundred years, disappeared in the early 1980s, an event that I somehow missed. By the time I got around to visiting the river again, they had vanished from the waters that had once held hundreds of them. Soon, the river was to be cut off from the sea that had given it life, with reclamation work at Marina South and the construction of the Marina Barrage. The river did not go quietly, however, and is now entering its second life, integrated into a potential source of fresh water for the modern metropolis that has grown around it.

A massive effort to clean up the river began in 1977 and the twakows, a feature of the river for over a hundred years, disappeared in the early 1980s, Many of the godowns along Boat Quay (seen here dwarfed by the steel and glass of new Singapore) have since been transformed into food and entertainment outlets.

Nevertheless, the river will always evoke its colourful past for me. I still look at it through the eyes of the child, and what I see are images of the twakows, coolies and godowns that are today all but forgotten.


This post has been published in the July / August 2011 issue of Passage, a Friends of the Museums, Singapore publication as “Singapore River Reminisces, Boat Quay in the 1970s”.






Order out of the chaos on Hill Street

8 06 2011

The Preservations of Monuments Board (PMB) would be conducting a series of 20 Mounmental Walking Tours of Singapore’s National Monuments in the civic and cultural district during the weekends commencing Saturday 11th June up until the end of July, with an intended aim of bringing history to the whole family. I had the opportunity to have a special preview of the upcoming tours yesterday morning as part of a group yesterday made up of members of the mainstream which was led by Volunteer Guide Ms Jill Wong, during which we were given not just an insight into two of the monuments covered, but also into the background and history of the public institutions that the two monuments were built to house.

The PMB is organising Monumental Walking Tours starting 11th June 2011.

At the starting point of the brief tour, now a pavement outside Funan Centre, which is directly opposite the first of the two monuments we were to cover, the Central Fire Station, we were transported by our guide Jill into a very different Singapore. It was a Singapore of the early years where large gangs of Chinamen with darkened faces had, in the darkness of night, created mischief on the first streets or a new and fast growing colony, taking advantage perhaps of the lack of order that the Singapore of today has come to be known for. It was a Singapore that struggled to cope with the pressures of sudden urbanisation, as the colony grew around the first paved street, High Street, just a stone’s throw away from where we stood, listening to Jill. Indeed, it was a Singapore or “Sin-Galore” as it was known then where chaos had reigned, and one in desperate need for the public institutions that the monuments we were to learn about that morning (the other being the former Hill Street Police Station and now MICA Building), were built to house – hence the name of the tour “Order out of Chaos” from which I borrowed the title of this post.

The Central Fire Station, completed in 1909, features a 110 feet high watchtower which also served as a hose-drying tower.

One of the public institutions that was certainly sorely needed on the congested streets was a fire brigade, which the Central Fire Station was later built to serve. It was only some fifty years after the founding of modern Singapore that the first brigade was formed – a volunteer fire brigade in 1869, developing into a professional outfit close to two decades later. Even with the establishment of a professional force of fire-fighters, the fire brigade was still ill-equipped and ill-prepared to deal with many situations that arose, a fact highlighted by a news article in the 24th September 1890 edition Straits Times (excerpts of which can be found below) relating to a fire on Hock Lam Street – which had once met Hill Street at right angles at the very spot on the pavement on which we stood, which Jill read from. The article makes for interesting reading and in it we are told of a crowd that had gathered to witness a fire that had broken out at a house at No. 8 Hock Lam Street, which, “had the pleasure of watching a fire work its own way without let or hindrance”. What comes out from the article is that it took an hour before water could be doused on the fire, having been delayed partly by the inability of the fire-fighters to locate hydrants on a street just across from where they were based.

Volunteer Guide Ms Jill Wong describing the construction of the Central Fire Station.

The construction of the red and white fire station which was completed in 1909, a National Monument gazetted in December 1998 and the most recognisable in Singapore, represented a change in fortunes of the fire brigade, having being prompted by the arrival of the first professionally trained Superintendent of the Fire Brigade, Montague William Pett from England in 1905. The construction also prompted a modernisation of the brigade’s equipment with motorised fire engines being introduced, which is evident in the various size of exit doors of the station. The station, with its distinctive red and white brick façade, a style often described as “blood and bandages”, also features a 110 feet high watch tower, which when was the tallest structure in the city when it was built, providing a vantage from which a 24 hour watch could then be kept over the city. It also served as a hose drying tower – a feature in many fire stations. The station was later expanded, with a new wing added as well as quarters expanded on land purchased at the corner of Hill Street and Coleman Street from the Chinese Girls’ School which moved to Emerald Hill in the 1920s.

A feature of the pavement outside the Central Fire Station that was explained is that there is no kerb where it meets the road allowing it to be flushed for the passage of emergency vehicles coming out of the station.

The second (and last) stop in the short introductory tour was the former Hill Street Police Station, a six storey Neo-Classical styled building designed by PWD Chief Architect Frank Dorrington Ward completed in 1934, which was also gazetted as a National Monument at the same time as the Central Fire Station. Where the fire station is still used in a function that the building was built for, the Hill Street Police Station is now used by the Ministry of Information, Communication and the Arts (MICA). The building, when built, was an imposing structure which was described as the “Police Skyscraper” and was in fact the largest structure in Malaya. The building featured two open courtyards (now enclosed by a glass roof) and numerous windows (that one can’t help but notice) that opened to the outside as well as into the courtyards, giving the rooms in the building a airy and bright feel – a feature of Frank Dorrington Ward designed municipal buildings. The structure besides serving a function as a police station, also provided housing to policemen and their families with accommodation for up to a thousand people.

Another, an imposing structure that, at the time of its completion, was the largest man made structure in Malaya.

The once largest structure in Malaya, despite being dwarfed by the modern buildings that have come up in the area, is still pretty imposing.

The once open-air courtyard of the former Hill Street Police Station is now encased by a glass roof.

The construction of the building, built at a cost of $494,000, had in the case of the fire station, heralded a change of fortunes for the force, which started as a police force of 12 men in 1820 who weren’t, we were told, too well paid – a combined monthly salary of some $300 was put together by William Farquhar raised through licensing fee for the sale of opium and liquor. The force had apparently attracted the likes of desperate men, stranded sailors for one, seeking a means to obtain money for a passage home, and was poorly equipped unitl the 1930s when improved funding allowed the force was expanded to some 2000 and modern equipment to be introduced. Our attention was also drawn to a series of wall mounted information panels at the second smaller courtyard which provided some of the history of the building as well as provided insights into how life in the separate quarters for the families of the rank and file and the senior policemen was. All in all it was certainly an hour well spent, allowing me to discover more of the monuments in question and some of the conditions that existed when they were built as well as learning a little more on the history of Singapore. Information on the series of Monumental Walking Tours that the PMB has organised can be found below, as well as on the PMB’s website.

A feature of Frank Dorrington Ward designed buildings is the light and airy feel in interiors ventilated and brightened by generous windows which even in the less colourful days of the building, never goes unnoticed.

The Neo-Classical style is commonly seen in municipal buildings in Singapore and has features such as symmetry, the use of columns and pediments such as is seen over the main entrance of the former Hill Street Police Station.



PMB Media Release:

LEARN ABOUT HISTORY THE MONUMENTAL WAY
Monumental Walking Tours and My Monumental Playground offer fun for the whole family

7 June 2011 – History comes alive for the whole family as the Preservation of Monuments Board (PMB) launches 20 new Monumental Walking Tours of Singapore’s National Monuments in the civic and cultural district and My Monumental Playground at the Esplanade Park Memorials.

Monumental Walking Tours
Presented with distinct storylines and unique perspectives, Monumental Walking Tours cast our National Monuments in a new light, weaving in stories of Singapore’s diverse immigrant communities. The 20 tours, conducted in English, will be introduced each weekend from 11 June to end July. Along with two existing tours, these will form PMB’s stable of Monumental Walking Tours which will be offered weekly for the rest of the year. Leading the tours are PMB’s adult Volunteer Guides and student Monument Ambassadors who have a strong background and interest in heritage. For the month of June, the Monumental Walking Tours will be available at a special rate of $5 per adult and will feature colonial buildings such as The Arts House and Peranakan Museum.

My Monumental Playground
Specially planned for the little ones, My Monumental Playground will reveal little-known facts about the Esplanade Memorials through storytelling sessions, silent precision drill performances, a treasure hunt and more. Held on 11 and 12 June, this event is part of Children’s Season 2011. Through these exciting events, PMB hopes to develop greater public interest and appreciation for Singapore’s 64 National Monuments. More information on the upcoming events can be found Annexes, and members of the public can refer to www.pmb.sg.

PMB Monumental Walking Tour and My Monumental Playground Programmes:

Administrative Information

Monumental Walking Tour Programme 11th – 12th June 2011

Monumental Walking Tour Programme 18th – 26th June 2011

Monumental Walking Tour Programme to be released in July 2011

My Monumental Playground



Excerpts from the article “Fire on Hocklam Street” from the 24th September 1890 edition of the Straits Times:

“About 9.30 p.m. a fire began in a house No. 8 Hocklam Street, and a crowd immediately commenced to gather and found that they had the pleasure of watching a fire work its own way without let or hindrance. Very soon Chief Inspector Jennings arrived, and pending the arrival of the fire engines did all he could, i.e. watched the crowd. At 10 o’clock the fire had obtained complete possession of the house, and the flames lapped round the casements, and mounted high into the air illuminating the whole town”.

The article goes on to describe how the crowd had admired the uniform of the superintendent as he watched on horseback as the fire made its progress, with water arriving only an hour after the fire by which time No. 8 and 9 were “completely gutted” and added that the “organisation did not know where the nearest hydrants were situated” in spite of the “barracks of the Fire Brigade” being “in the same street as, and exactly opposite to, the burnt houses”.









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