A set of photographs taken stop points along the procession route of the Silver Chariot. The procession takes place on the eve of the festival of Hindu festival of Panguni Uthiram which is celebrated on the full moon of the Tamil month of Panguni. Since 1967, a kavadi procession, similar to that during the more well known Thaipusam festival, has taken place in the Sembawang area, organised by the Holy Tree Sri Balasubramaniar Temple. The temple was original established in the Naval Base off Canberra Road and moved to its current location at Yishun Industrial Park A in 1996. The chariot is a representation of the chariot in which Lord Murugan or Lord Balasubramaniar is believed to use on his annual visit to his devotees on Earth. The procession this year takes place along a new route starting at a vacant plot of land off Canberra Lane / Canberra Drive. Photographs of the preparations for kavadi bearers from the previous years as well as more information on the festival can be found on two of my previous posts: A lesser known Hindu festival with a Kavadi procession: Panguni Uthiram (2011) and The sun rises on a Sembawang tradition.
An often overlooked chapter in the Singapore story is the one that is written by our pioneering tradesmen. Many had little choice to turn to their trades as a means of income, but in doing so, they were able to contribute to society by serving the many important needs of the growing population in the early days of the development of Singapore. While many of these trades have fallen victim to the rapid pace of change, as well as perhaps to the globalisation, and have been forgotten about; there are some which have managed to stay relevant or have evolved to meet the changing needs of today’s society. An exhibition which opens to the public today at the National Museum of Singapore, Trading Stories: Conversations with Six Tradesmen, looks at some of the tales of these tradesmen, through personal accounts from six pioneering tradesmen, some who have retired from their trades, and some whose trades are still very much alive today.
The exhibition which will be on until 23 June 2013, features the stories of a traditional goldsmith, a movie poster painter, a tukang urut (or Malay confinement lady), a Samsui woman, a poultry farmer and a letter writer, recounting the colourful journeys taken and the experiences of these tradesmen. In doing so, we do not only hear tales of sacrifice and struggle in the early days of Singapore, we also gain many insights into the trades themselves and perhaps in them, many other stories that would otherwise not have been told, such as that of the Achari craftsmen caste and the wows to remain single that many Samsui women took.
Besides the six tradesmen, the exhibition also includes a community segment which features over 20 exhibits contributed by the community. These include private artefacts and keepsakes, locally produced documentaries and a community photography exhibit. One which caught my attention is khat calligrapher, Mr Faizal Somadi’s beautifully executed works of Jawi calligraphy. Jawi is a less often used traditional Malay script which in more recent times has been replaced by the romanised script. Visitors to the exhibition will also be encouraged to leave some of their personal memories of old trades behind by posting notes on a wall.
Also to look out for as part of the exhibition, is a series of street theatre performances and demonstrations of the old trades. This will take place at the museum on weekends in May and June. The museum has introduced programmes for primary and secondary school students. Trading Stories runs from 15 March to 23 June 2013 at the museum’s Stamford Gallery and opens from 10 am to 6 pm daily. Admission is free. More information can be found at www.nhb.gov.sg/tradingstories.
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Tags: Achari caste, Ang Hao Sai, Faizal Somadi, Goldsmith, Ho Seng Choon, Jawi Calligraphy, Khat Calligraphy, Letter Writer, Movie Poster, Movie Poster Painter, Murugaian s/o Ratnaswami Asari, National Heritage Board, National Museum, National Museum of Singapore, Ng Moey Chye, NHB, Old Trades, Photography, Poultry Farmer, Runtik Binti Murtono, Sam Tan, Samsui Women, Singapore, Thangaraju s/o Singaram, Trading Stories, Trading Stories Exhibition, Trading Stories: Conversations with Six Tradesmen, Traditional Trades, Tukang Urut, Vanishing Trades
Categories : Events, Museums, National Museum of Singapore, Reminders of Yesterday, Singapore, Traditions
Photographs from what was certainly a feast for the senses, Chingay 2013, which was held at the F1 Pit Building over two evenings on 22 and 23 February 2013. The annual event, touted as “Asia’s Grandest Street Parade” is organised the People’s Association. In its current incarnation, Singapore’s Chingay was conceived as a street parade to celebrate the Chinese New Year in 1973 in the wake of the ban on the tradition of letting off fireworks, the parade has evolved over the years into the spectacular celebration of Singapore’s rich multi-ethnic mix and includes participants from many other countries. The event wouldn’t have been a success if it wasn’t also for the efforts of many participants and volunteers, to whom this post is dedicated to:
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Tags: Celebrations, Centipede Dance Troupe, China Red Star Dance Troupe, Chinese Classical Dance, Chinese New Year, Chinese Opera, Chingay, Chingay 2013, Chingay Participants, Chingay Volunteers, Events, F1 Pit Building, Faces, Fire in Snow, Fireworks Ban, Japanese Association, Lady Generals, Marina Bay, Matsuri Japan, Multi-cultural, PA Youth Movement, PAssion Zumba, PAYM Youths Poppera, Peach Blossoms, People's Association, Photographs, Photography, Singapore, Street Parade, Traditions
Categories : Entertainment, Events, Interesting happenings around town, Marina Bay, New Singapore, Singapore, Traditions
Themed “Fire in Snow”, Chingay this year celebrates the strength of the human spirit in the face of life’s challenges. Presenting a spectacle (as it always does), with fire representing resilience, bravery, perseverance, passion and determination. This will be placed in contrast with snow representing challenges and hardships. Exemplifying the spirit of this year’s Chingay will be not just the resilient Singaporeans who would be honoured during Chingay, but also the participants who have collectively put in many hours of tireless efforts including rehearsing through last evening’s pouring rain to bring the show to the audience tonight and tomorrow night. Besides being part of the audience, Chingay 2013 can also be watched live at this link.
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Tags: Billy Wang, Chingay 2013, Events, F1 Pit Building, Fire in Snow, Hong Rong Hong, Mr Nah Juay Hng, Peng Qia Qia, People's Association, Photographs, Photography, Resilient Singaporeans, Singapore, Street Parade, Yang Lie, 杨烈, 洪荣宏, 东方比利, 澎恰恰
Categories : Entertainment, Event Previews, Events, Marina Bay, New Singapore, Singapore, Traditions
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Tags: Lion Dance Troupe, Photography, Singapore, Street Scenes, Tradition
Categories : Observations, Random Observations, Singapore, Traditions
In celebration of the Lunar New Year, The Float @ Marina Bay once again plays host to River Hongbao. The annual event, now in its 27th year, is organised by Singapore Federation of Chinese Clan Associations (SFCCA), Singapore Press Holdings (SPH), Singapore Chinese Chamber of Commerce (SCCCI), Singapore Tourism Board (STB) and People’s Association (PA) with the aim to allow both locals and visitors to immerse themselves in the festive atmosphere. This year’s fair sees a display of lanterns including some of the largest which have been designed and specially handcrafted for River Hongbao on display at The Float. This combined with the host of fringe activities including amusement rides and carnival games; nightly shows on the main stage and; brought specially this year – food and handicraft from Guangdong Province, will certainly make this year’s River Hongbao one that will certainly be worth a visit.
The lanterns will definitely be a draw this year – the most eye-catching one being the towering 18 metre tall God of Wealth, as well as two large Screen Lanterns, which measuring 30 metres by 10 metres, will certainly not be missed. The lanterns have all been locally designed and handcrafted by craftsmen in China and also include zodiac lanterns – 12 of them each with a zodiac animal – the one with the snake will of course be taking centre stage. One rather interesting lantern is that resembles a Chinese Opera or Wayang stage – with lantern puppets as well as puppet show performances at selected times throughout the day. Visitors can also look forward to receiving fortune numbers from the God of Wealth at two hourly intervals from 1 to 11 pm.
Besides the lanterns, the happenings on the main stage which comes alive every evening, should also not be missed. The shows on the main stage will over the nine evenings, feature performances by both local and foreign performers, including acts which hail from China, Taiwan, Malaysia, Philippines and Indonesia. The highlight includes the performances which feature dancers from the National Taiwan University of Arts and the Nanfang Song and Dance Company, as well as acrobats from Shantou Acrobatic and Magic Troupe. In addition to these acts, the evening of 13 February will see a “Local Talent Night”, 14 February a “Youth Night” which showcases upcoming young talents and 15 February, a “SFCCA Night” during which the clan associations will put up both Mandarin as well as perfromances in dialects. The last evening (16 February) will see a “Harmony Night” when the different ethnic groups come together in a grand finale. For more information on the programme, please visit the River Hongbao’s Programme page. River Hongbao 2013 runs from 8 to 16 February 2013. More information on River Hongbao can also be found at the event’s website and Facebook Page.
Further information on River Hongbao 2013:
Working with Guangdong
As part of efforts to further cultural cooperation with Guangdong Province, River Hongbao will be partnering the Department of Culture and Department of Tourism of Guangdong Province to bring the region’s highlights to Singapore. Visitors to The Float will be entertained by the Guangdong Arts Troupe, which comprises of performers from the highly acclaimed Nanfang Song and Dance Company and acrobats from Shantou Acrobatic and Magic Troupe. Guangdong is also well known for its popular Cantonese cuisine so expect your tastebuds to be tantalized by the region’s delicacies available at the River Hongbao Food Street. Handicrafts from from different provinces of Guangdong like silk scarves from Shunde, Guangzhou bone and jade sculptures, Foshan paper cuttings and souvenirs from The Musuem of Dr Sun Yat Sen will also be available for visitors to bring a small piece of Guangdong back with them.
River Hongbao Food Street
Continuing with 2012’s success, River Hongbao’s Food Street will bring back last year’s winning local fare like Char Kway Teow, Hainanese Chicken Rice, Fried Hokkien Noodles, Satay Bee Hoon, Oyster Omelette, as well as Asian street favourites from Taiwan and Thailand. Guangdong chefs will also be flown in to entice palates with popular Guangdong delicacies like Grilled Quail’s Eggs, Soup Dumplings, Oysters steamed with garlic mince, Traditional double boiled soups and many more.
Memory Collection Drive
This year, River Hongbao will work together with the Singapore Memory Project (SMP) to collect memories of Chinese New Year celebrations in Singapore. Visitors can share their memories of the festive traditions or past River Hongbao events at the Memory Collection Drive. For memories contributed, they will receive specially designed hongbao packets, while stocks last. These memories will enable future generations of Singaporeans to understand the collective journey of our nation and the different facets of Singapore. Members of the public can also submit photos and stories via singaporememory.sg or the SG Memory iOS App.
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Tags: Chinese New Year, Colour, Fireworks, Fortune Numbers, Giant Lanterns, Gold of Wealth, Handcrafted Lanterns, Lanterns, Lunar New Year, Marina Bay, Nanfang Song and Dance Company, National Taiwan University of Arts, PA, People's Association, Photographs, Photography, River Hongbao, SCCCI, SFCCA, Singapore, Singapore Chinese Chamber of Commerce, Singapore Federation of Chinese Clan Associations, Singapore Press Holdings, Singapore Tourism Board, SPH, STB, The Float @ Marina Bay, 台湾艺术大学舞蹈团, 广州南方歌舞团
Categories : Events, Marina Bay, New Singapore, Singapore, Traditions
While many in Singapore feel that the annual Chingay parade, now in its 41st year, has moved away from its original purpose of a street parade for the masses first celebrated in 1973 to make up for a total ban on the long held tradition of letting off fireworks during the Lunar New Year, the parade is without a doubt still very much a celebration of what Singapore is and what perhaps Singapore has become. The parade has in its recent editions become a show of the spectacular, combining a street-like parade in which the people from all major races and from all walks of life participate, with a well-orchestrated show of lights, music and effects which never fail to dazzle the audience. The theme of this year’s parade, “Fire in Snow”, will on the evidence of Saturday’s rehearsal, no doubt be as dramatic, if not more so, than last year’s water show was, with the opening scene seeing some 3000 performers light pots of fire, which turns the 360 metre parade route at the F1 Pit Building into a spectacular sea of light. The parade’s dramatic opening is matched by an equally staggering finale during which the parade’s audience and participants will be showered in falling “snow”, in which falling soap and pieces of paper brings the parade to a sensational close.
Saturday’s rehearsal, which was opened to members of the media, also had some 8,000 students in its audience. The students, representing some 56 schools, were there to participate in a National Education (NE) show to educate students about multicultural harmony. This is the first time students an NE show, usually associated with National Day Parade rehearsals, is being held in conjunction with the Chingay Parade rehearsals. The six-part parade will see some 10,000 performers representing some 120 organizations and will include a Chinese classical featuring 450 young performers from Singapore and China; a combined Chinese Opera Show with 300 members of local Teochew, Hokkien and Cantonese opera troupes who will perform to the strains of Phantom of the Opera; Tai-chi Swordmasters; and the participation of a 1,000 strong PAssion Zumba Community which includes the youngest participant in the parade who is only 4.
The parade will be held on Friday 22 February and Saturday 23 February this year. More information including that on ticketing can be found at the Chingay 2013 website.
More photographs from Saturday’s rehearsal:
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Tags: Chinese Classical Dance, Chinese Opera, Chingay 2013, Events, F1 Pit Building, Fire in Snow, Fireworks Ban, History of Chingay in Singapore, Mr Nah Juay Hng, Ms Elaine Tjon, National Education Show, NE Show, PAssion Zumba, People's Association, Photographs, Photography, Queenstown CC Cantonese Opera Troupe, Singapore, Street Parade, Youngest Participant
Categories : Event Previews, Events, Interesting happenings around town, Marina Bay, New Singapore, Singapore, Traditions
Thaipusam is perhaps the most colourful of the religious and cultural traditions brought in by the early immigrants to modern Singapore that is today celebrated on the streets of Singapore. Celebrated by Tamils from southern India during the full moon of the Tamil month of Thai, the festival in Singapore is notable for the 4 kilometre procession over which devotees carry a “burden”, in the form of a kavadi. The procession which starts from the Sri Srinivasa Perumal Temple along Serangoon Road and ends at the Sri Thendayuthapani Temple (Chettairs’ Temple) at Tank Road sees hundreds of devotees every year making their way along the route carrying kavadis which range from milk pots placed on their heads to more elaborate kavadis such as spike kavadis and chariot kavadis. The spike (or “vel”) kavadis is perhaps the most elaborate and involves the piercing of up to 108 spikes onto the body. The chariot kavadis involves the attachment of hooks to the backs of bearers which is attached to ropes pulling a chariot. Devotees often also have other piercings carried out including with skewers through the tongue and cheeks with holy ash applied to the area before hand. The piercings are said to inflict no pain as well as leave no scars (no blood is spilled as well) – devotees go through a 48 day spiritual cleansing prior to Thaipusam – which involves a strict regime of fasting, abstinence, and prayer. More information on the festival can be found at the Sri Thendayuthapani Temple’s website.
Photographs from Thaipusam 2013
(Black and Whites)
Photographs from previous years’ Thaipusam observations:
A similar festival celebrated in the Tamil month of Panguni in the Sembawang area:
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Tags: Chettairs' Temple, Festival, Hindu, Kavadi, Kavadi Preparation, Little India, Photographs, Photography, Religious Festivals, Serangoon Road, Singapore, Sri Srinivasa Perumal Temple, Sri Thendayuthapani Temple, Street Festivals, Thaipusam, Thaipusam 2013, Thaipusam Procession, Vel
Categories : Events, Little India, Selegie Road Area, Singapore, Traditions
In a world that is changing too fast, it is often only the memories of places dear to us that we are able to cling on to, memories in which we often discover what we have left behind. As with its forerunner Old Places, Royston Tan’s seeks to discover that through the words of the man on the street, and discover in each, “an old lover’s story waiting to be untold”. The stories explore many places in which we as Singaporeans may have collective memories in, and of which in the words of the director “almost 50% will be gone by the time we premiere this”. The premiere of Old Romances and a screening of Old Places will take place over the weekend of 15/16 Dec 2012 at the National Museum. More information can be found listed below. Tickets for the screenings cost S$11 (including handling fees) or S$10 for Senior Citizens and are available at TICKETBOOTH. DVDs will be on sale on both days with autograph signing sessions arranged. Part of the ticket proceeds will be donated to the charity Action for Aids.
15 December 2012, Saturday
2.30pm: Old Romances followed by Q&A
16 December 2012, Sunday
2.30pm: Old Places followed by Q&A
4.30pm: Old Romances followed by Q&A
S$11 per ticket (includes handling fees)
S$10 per ticket (Senior Citizen concession, includes handling fees)
Tickets can be purchased at TICKETBOOTH outlets or on the TICKETBOOTH website www.ticketbooth.com.sg
National Museum of Singapore, Gallery Theatre, Basement
About Old Romances《老情人》
“Old places are like old lovers to me, you never forget them.” – Royston Tan
Executive Producer: Royston Tan
Directors: Royston Tan, Eva Tang and Victric Thng
67 min / Documentary
There is romance in every corner we turn. In this sequel to the documentary, Old Places, Old Romances takes us on a journey to experience Singapore through the collective voices of ordinary Singaporeans.
Through their voices, we hear personal stories from members of the public who shared their anecdotes on radio. Everyday spaces come alive with these special memories, which are bonded forever with these places.
Old Romances is a journal of love letters to places that we grew up with.
“What triggered me to do Old Romances was the great public response for wanting a sequel to Old Places. I believe that in every old place, there is always an old lover’s story waiting to be untold. How great is it to have this story told by ordinary Singaporeans from all walks of life. I received an email recently from a lady who was taking the MRT and as she looked out of the train at everything that seemed so familiar, they were really places that were depleting by the minute. It’s almost like we Singaporeans are suffering from the dementia of our society due to our rapid urban development. With this, I feel the need to archive all the stories and old places of which almost 50% will be gone by the time we premiere this.”
- Tanjong Pagar Canteen at Tanjong Pagar
- Lee Kee Book Company at Chinatown
- Lim Kay Khee Optical House at Balestier Road
- Carnival Beauty Salon at East Coast Road
- Sembawang Hill Estate Taxi Service at Sembawang Hill
- Kim Choo Kueh Chang at East Coast Road
- Chop Wah Hin Sheet Metal Works at Balestier Road
- Seng Hong Coffeeshop at Lengkok Bahru
- Gim Joo Textile Co Pte Ltd at Arab Street
- New Century Record Co. at Tanjong Katong
- Poh Onn Tong Medical Shop at Tanglin Hall
- Thin Huat Provision Shop at Tanglin Hall
- Hong San See Temple at Mohd Sultan
- Kong Tee Peng Temple at Chinatown
- Lao Sai Tao Yuan Teochew Wayang
- Sliat Walk Estate
- Feng Huang Puppet Troupe
- Yet Con Chicken Rice at Purvis Street
- Bukit Merah View Hair Dressing Salon at Bukit Merah
- Old Playgrounds
- Pearl Bank Apartments at Chinatown
- St Joseph Church at Victoria Street
- Japanese Cemetery at Chuan Hoe Avenue
- Cashin House at Lim Chu Kang
- St John Island
- Union Farm Eating House at Clementi Road
- Tan Moh Hong Reptile Skin & Crocodile Farm at Upper Serangoon Road
- Klins Dog Unit at Ulu Pandan Road
- Bukit Timah Saddle Club at Bukit Timah
- Colbar Eating House at Whitchurch Road
- Serangoon Bus Interchange at Serangoon Road
- Teo Seng Heng Provision Shop at West Coast Road
- New Chay Hong Beauty Parlour at Lorong Lulian
- Lo Song Leng Dentist at Balestier Road
- Wong Yiu Nam Medical Hall at Chinatown
- Shashlik Restaurant at Far East Shopping Center
- Upper Seletar Reservoir at Upper Seletar
- Kovan Coffeeshop at Simon Road
- Thye Moh Chan Cake House at Geylang Road
About Old Places 《老地方》
Remembering forgotten places in Singapore through the eyes of ordinary people
Executive Producer: Royston Tan
Directors: Royston Tan, Eva Tang and Victric Thng
77 min / Documentary
“I want to archive these places before they are lost forever.” – Royston Tan
Old Places shows us the oft-forgotten yet almost immediately familiar areas in Singapore through the eyes of ordinary people. Prior to the production, members of the public were invited to call in to the radio to recount their significant memories of places in Singapore – places that will soon disappear or be redeveloped.
These personal stories come alive through the callers’ narration and the stunning visuals that capture the nostalgia and hidden beauty of the places. Re-discover Singapore and journey to places like a playground in Toa Payoh, a barbershop at Commonwealth Avenue, Capitol cinema, and an unassuming bakery in Whampoa.
Old Places celebrates personal stories of joy, love or loss, and weaves them into a tapestry of memories amounting to a collective and yet typical story of life in Singapore.
Old Places first screened on Okto on the eve of National Day 2010 where it recorded the highest ratings for any documentary screened that year, and received an overwhelming number of requests from the public for a repeat screening, which was subsequently arranged by Okto on 24 August.
Old Places was screened at the Esplanade from 13 July to 26 August 2012 in the Our Places, Our Stories exhibition.
It has also been shown once at the National Library, five times on television (even till now where they cut the film into 10-minute snippets), twice in schools for National Day Parade last year (once in SOTA and once in NTU), and had one community screening.
After the National Museum, it will next screen at a community museum in Taman Jurong in January 2013, organised by the National Heritage Board and the Singapore Art Museum.
A graduate from Temasek Polytechnic, Royston Tan’s films have screened worldwide at film festivals and received over 75 awards. He has made 4 feature length films and continues to work within the short film genre when the right idea comes along. Tan is one of the most influential filmmakers locally. In 2002, the National Arts Council honoured him with the Young Artist Award. In 2004, Time Magazine cited Tan as one of the ‘Top 20 Asian Heroes’. In 2010, Tan received the Singapore Youth Award, the highest youth accolade from the National Youth Council.
During his days as a student, Tan won the NTU All-School Students’ Photo-Videographic Competition: First prize for Music Video for Remains (1995) and the UTV International Book Prize for Adam.Eve.Steve (1997).
After graduation, Tan received the Best Short Film and Special Achievement Award for the short film Sons in 2000. In 2001, his short film Mother received the Voice Award at The Substation’s Singapore Short Film Festival. He has won two awards at Clermont-Ferrand International Short Film Festival: the Canal+ Award 2005 for Cut and the Grand Prix for Monkey Love in 2007.
Tan remains one of the few filmmakers in Singapore who straddles both the commercial film world and the international film festival circuits. His film 881 grossed over S$3 millions, making it the top grossing Asian film in Singapore in 2007. In 2009, he was invited to be part of the Jury at the Shanghai International Film Festival.
Born in Singapore, Eva Tang has lived and studied in Hong Kong, London and China. When she was offered a scholarship from the Singapore Film Commission, she resigned from her journalist job of 5 years and went to study film. Tang was the first Singaporean filmmaker who had her student short selected by the Venice Film Festival in 2002.
Eva is a MA (Directing) graduate of the National Film and Television School. Her student film Londres – London won the Governor Award of the Akira Kurosawa Memorial Short Film Competition. It also won Best Artistic Film in Shanghai, Jury Recommendation at the Hong Kong Independent Short Film & Video Awards, and was nominated for Best Short Film at Hawaii and Bangkok International Film Festivals. The National Gallery of Art (USA) also picked it up for screening. Her film, Solitary Moon was awarded the First Prize at The Great Gatsby Video Challenge, part of the Singapore Arts Festival 2010.
Eva was selected for the 2009 Berlinale Talent Campus, 2010 Torino FilmLab training and 2010 Taipei Golden Horse Film Academy led by Hou Hsiao-Hsien.
Cited as “one of the new wave directors to look out for” by The Straits Times, Victric Thng’s filmmaking career started when he made a 3-minute short film, Locust (2003). The film won the Renault Samsung Prize in the Busan Asian Short Film Festival, Best Asean Short Film Silver Award at the Malaysian Video Awards and also screened at the Museum of Modern Art in New York. Locust remains one of the festivals’ most highly requested films today. He has since made 11 other short films including more recently, The Mole (2007), which won first prize at the Panasonic-MDA Digital Film Fiesta 2007, and Twogether (2007), which screened at the 27th San Francisco International Asian American Film Festival in 2009. In 2009, he executive produced the short film series Infinity which premiered at the 22nd Singapore International Film Festival. He was commissioned by the National Arts Council in 2009 and 2010 to direct a film under the dance/film programme, as part of the Singapore Arts Festival. A Day Without Wind, which was the dance film commissioned in 2009, travelled to the Asian Hot Shots Festival 2010 in Berlin, Germany.
He has been invited to jury regionally at festivals including in Macau and in Singapore, the 7th Fly By Night Video Challenge 2009. In 2009, John Badalu in Jakarta curated a retrospective of his works.
All photographs courtesy of Royston Tan
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Tags: Documentary, Eva Tang, 老地方, 老情人, 邓宝翠, 陈子谦, Gallery Theatre, National Museum of Singapore, Old Places, Old Romances, Premiere of Old Romances, Royston Tan, Singapore, Trailer, Victric Thng, 唐惠龙
Categories : Events, Forgotten Buildings, Forgotten Places, Movies, Rail Corridor, Railway Land, Reminders of Yesterday, Singapore, Traditions
A street in Singapore that I have long been familiar with from my many encounters with it throughout my childhood and my days going to school in the area is Waterloo Street. Well-known back in the 1970s for the ‘sarabat stalls’ – a row of food stalls which was a destination for not just good teh sarabat (ginger tea), but also where some of the best Indian rojak in Singapore was to be found, Waterloo Street was also where many rather stately looking buildings could be found – particularly along the stretch that is directly opposite the former St. Joseph’s Institution (now the Singapore Art Museum) which I attended. One which did stand out – was a white building with blue windows and a blue Star of David which we referred to as the synagogue, the Maghain Aboth Synagogue.
The synagogue was always a place that seemed mysterious to me, and one that has remained a mystery until very recently when I had an opportunity to see its insides through a Preservation of Monuments Board (PMB) Monument Open House walking tour. Maghain Aboth Synagogue, which translates as “Shield of our Fathers”, one of two Jewish houses of worship found in Singapore (the other being the Chesed-El), is the oldest existing synagogue not only in Singapore, but also in South-East Asia. Gazetted as a National Monument in 1998, the synagogue provides a link not just to a small but historically significant ethno-religious community in Singapore, but also to the trade motivated diaspora of Baghdadi Jews which saw the arrival from India of the first members of the community in Singapore in the 1830s.
The Maghain Aboth wasn’t the first synagogue in Singapore. The first was one that was housed in a shophouse. Established in 1841, it was to give Synagogue Street its name and served the community until the 1870s. The limited to its capacity coupled with a fast growing Jewish population in Singapore required a larger building than the shophouse which house a congregation of forty. The land at Waterloo Street (which until 1858 had been known as Church Street) on which the present synagogue, the Maghain Aboth stands, was secured in the 1870s by Sir Manasseh Meyer (who later also built the Chesed-El as a private synagogue) and the Maghain Aboth was built. The synagogue designed in the neo-classical style was completed in 1878 with several extensions added over its 134 years, including a second level seating gallery to allow women to worship. It was close to the synagogue that a larger community of Baghdadi Jews began to settle around – giving rise to the Jewish quarter around the nearby Middle Road and Selegie Road area that came to be known as the Mahallah.
The layout of the synagogue is very similar to but is much less elaborated decorated than the Chesed-El. The centre of the hall which faces Jerusalem features a bimah, a raised wooden pulpit where the rabbi leads prayers and reads from Torah scrolls (Sefer Torah) during services. At the west end of the hall, the most sacred part of the synagogue, the the ahel or ark is arranged. The ark is where the Torah scrolls are kept, covered by a parochet or curtain.
A more recent extension to the compound on which the synagogue stands is where the stained glass fronted Jacob Ballas Centre now towers over the Maghain Aboth. Built as a community centre, the Jacob Ballas Centre is named after a very successful stock broker, the late Jacob Ballas, who was a prominent member of the community. The centre houses function rooms, offices and accommodation for the rabbis, a kosher slaughter room for fresh chicken, a kosher restaurant as well as a kosher shop. For more information on the Maghain Aboth and the Jacob Ballas Centre, do visit the links below.
Resources on the Jewish Community, Sir Manasseh Meyer and the Maghain Aboth Synagogue:
Jewish Community in Singapore (on The Jewish Community of Singapore)
Jewish Community in Singapore (on The Jewish Times Asia)
Sir Manasseh Meyer (on infopedia)
Maghain Aboth (on infopedia)
Maghain Aboth Synagogue (on The Jewish Community of Singapore)
Maghain Aboth Synagogue (on PMB’s website)
More views around the Maghain Aboth
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Tags: Bras Basah Area, Church Street, Inside a Synagogue, Jacob Ballas Centre, Jewish Community, Jews in Singapore, Judaism, Maghain Aboth, Mahallah, Manasseh Meyer, National Monuments, Photographs, Photography, PMB, PMB Monument Open House, Preservation of Monuments Board, Regent Alfred John Bidwell, Religion, Religious Architecture, Sefer Torah, Singapore, Stained Glass, Synagogue, Waterloo Street
Categories : Architecture, Bras Basah, Middle Road Area, National Mounments, Singapore, Traditions
A walk I recently took was around what is one of my favourite places in Singapore and what has to be one of the more colourful districts in Singapore – the area we now refer to as Little India, an area which was referred to as “Soonambu Kambam” in Tamil or “Kampong Kapor” in Malay which translates into “The Village of Lime”. The area is one that takes a life of its own every weekend when thousands of migrant workers from the Indian sub-continent congregate in the area and one, that in the lead up to the Hindu festival of lights, Deepavali (or Diwali), takes on a very festive atmosphere not just with the annual Deepavali street light-up, but also with the Deepavali bazaars around the area.
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Tags: Deepavali, Deepavali Light-up, Diwali, Little India, Migrant Workers, Photography, Serangoon Road, Singapore, Soonambu Kambam, Village of Lime
Categories : Little India, Singapore, Traditions
One of the wonderful things about Singapore is the diverse cultural and religious practices, some modified with time, some influenced by the environment, but many that remain distinct reflecting the many lands far and wide from which immigrants to Singapore have arrived from. Besides the myriad of festivals that seem to go on all year around, this diversity is also reflected in its architectural heritage – some 28 of its 64 National Monuments are places of worship which are very much in use today.
Two of the 64 that I had an opportunity to visit during a recent Preservation of Monuments Board (PMB) walking tour were the Hong San See Temple and the Chesed-El Synagogue. The Hong San See or Temple on Phoenix Hill is one that I already am familiar with from a previous visit. A magnificent and beautifully restored example of Fujian Lam Ann (Nan’an) religious architecture, its last restoration effort from 2007 to 2009 earned a UNESCO Asia-Pacific Heritage Award for Cultural Heritage Conservation in 2010. More information on the temple can be found in my previous post The Temple on Phoenix Hill.
The main motivation for my participation in the tour was more for the opportunity it provided to visit a synagogue as I had never in stepped into one. While there are two such places of worship in Singapore, such opportunities are rare, especially due to more recent security concerns and this provided me with a look of what it was like behind the façade of a religious building belonging to a small and sometimes lesser known local community which has made a significant contribution to Singapore.
The Jews in Singapore have certainly made a huge contribution to its development with many notable names through Singapore’s history, members of the community. One of its prominent members in the early days of Singapore was a certain Sir Manasseh Meyer, a highly successful businessman and property owner, who counted among his properties, the Sea View Hotel and the Adelphi Hotel, lending his name to Meyer Road. It was also Manasseh Meyer who built the Chesed-El, Singapore’s second synagogue (after Maghain Aboth in Waterloo Street).
The Chesed-El completed in 1905 on Manasseh Meyer’s sprawling estate in Oxley Rise, Belle Vue, was designed by Regent Alfred John Bidwell of architectural frim Swan & Maclaren (which was responsible for many of the monumental works of architecture in Singapore) in the Palladian style. What had prompted Manasseh Meyer to build Chesed-El, which translates as the “bountiful mercy and goodness of God” were differences of opinions which members of the community from differing backgrounds had at the Maghain Aboth, which was built as a private synagogue.
Besides providing the opportunity to have a look into the synagogue, the visit also allowed a better appreciation of the layout of a synagogue. Placed in a westward facing direction to Judaism’s eternal city, Jerusalem, a wooden pulpit rises at centre of the hall. The pulpit or bimah, is where prayers where the rabbi leads the prayers, and where the Torah scrolls (Sefer Torah) are placed and read during services.
The visit also allowed us a peek at the upper gallery where the women are kept separated from the men during services. The balconies on the upper gallery feature iron work that we were told were imported from Scotland which provided an appreciation of the effort taken in the building of the house of worship for the greater glory of the Maker.
The highlight of the visit was a close-up look we had at Sefer Torah as well as a look into the holiest part of the synagogue, the ark or ahel – a room where the Sefer Torahs are stored. The sefers or scrolls are made from specially handwritten parchment and are ones donated by members of the congregation, and includes one that is a hundred years old.
The look at the synagogue was one that provided not only an insight into the religious practices of a small but important community in Singapore, but also one which offered a window into the role the many successful immigrants who came from far and wide played in building and supporting their respective communities. It is these communities which have provided the foundation on which Singapore’s success is built and which makes Singapore that wonderful celebration of cultures and religions that it is today.
Resources on the Jewish Community, Sir Manasseh Meyer and the Chesed-El Synagogue:
Jewish Community in Singapore (on The Jewish Community of Singapore)
Jewish Community in Singapore (on The Jewish Times Asia)
Sir Manasseh Meyer (on infopedia)
Chesed-El Synagogue (on infopedia)
Chesed-El Synagogue (on The Jewish Community of Singapore)
Chesed-El Synagogue (on PMB’s website)
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Tags: 100 year old Sefer Torah, Belle Vue, Chesed-El Synagogue, Hong San See, Inside a Synagogue, Jewish Community, Jews in Singapore, Judaism, Manasseh Meyer, National Monuments, Oxley Rise, Palladian, Photographs, Photography, PMB, PMB Monumental Walking Tours, Preservation of Monuments Board, Regent Alfred John Bidwell, Religion, Religious Architecture, Sefer Torah, Swan and MacLaren, Synagogue
Categories : Architecture, Architecture, National Mounments, Orchard Road, Singapore, Traditions
In a fast changing world in which there often are just little reminders of the past to cling on to, it is always good to come across old world traditions that have not been displaced by the new. One area in which we are able to see this is in the making of mooncakes by some of the established mooncake bakeries, one of which is Chop Tai Chong Kok. I was able to visit the bakery very recently just as the making of mooncakes was being ramped-up as the Chinese eight month, in which the Mooncake or Mid-Autumn Festival is celebrated, approaches.
Having been in the business for some 77 years, the shop has long been one of the popular brands in traditional Cantonese style mooncakes, attracting long queues for the sweet delectable treats it produces in the lead-up to the Mid-Autumn festival. It now produces the mooncakes it is well-known for, as well as other Cantonese style pastries and confectionery, in a shop lot in Ubi Avenue 1, having had to move its business in 34 Sago Street when Chinatown was being cleaned-up during the conservation efforts which have given us the sanitised version of Chinatown we see today. The shop has since opened a retail outlet back in the shophouse in which the business started – one that is now rented.
Although now made in newer premises, little has changed in the production of Chop Tai Chong Kok mooncakes since the days of the late Mr Tham Kah Chee who arrived from China in 1935 and started his business at Sago Street. The preparation of the dough as well as the lotus and bean paste fillings to the pressing of dough wrapped balls of paste into the round shaped mooncakes in wooden moulds that the late Mr Tham himself would have used is still very much done by hand. I was able to observe part of this process which involved five persons standing around a wooden topped table, very quickly transforming flat pieces of dough and pre-prepared balls of paste into unbaked paler versions of the famous mooncakes. The sounds of wooden moulds on the wooden table top took me back to the days of my youth when I would wander around the old streets of Chinatown to catch a glimpse of shop fronts brightly coloured by cellophane lanterns and for a chance to watch unbaked mooncakes being made on tables lined along the five-foot ways as the Mid-Autumn Festival approached.
The business is now in the hands of the second and third generations of the late Mr Tham’s family, with a grandson, Weng Seng, now involved in the running of business. Facing many challenges including he arrival of many new players in the market, the introduction of newer variations of the traditional pastry, changing tastes, the small local market, as well as in employing people willing to labour in the bakery, their mooncakes continue to remain popular with Singaporeans due to their commitment to tradition and quality. Being one of a few organic businesses that has reclaimed a place in a Chinatown where many other businesses have found it hard to return to, the desire of the new generation taking over to maintain the relevance of the business in the face of new challenges does spell hope that they will, for some time to come, continue to serve as a reminder of a world that would otherwise have long been forgotten.
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Tags: Cantonese Mooncakes, Chinatown, Chop Tai Chong Kok, Festivals, Food, Mid Autumn Festival, Mooncakes, Photographs, Photography, Sago Street, Singapore, Tai Chong Kok, Traditions, 大中国饼家
Categories : Chinatown, Forgotten Places, Reminders of Yesterday, Singapore, Traditions
The seventh month in the Chinese calendar is a month that is held with much superstition in a predominantly Chinese Singapore. It is a month when, as beliefs would have it, the gates of hell are opened and it’s residents return to the earthly world. It is a time when the air fills with the smell of offerings being burned and when tents and stages appear in many open spaces all across Singapore to host dinners during which lively seventh month auctions are held during which entertainment (for both the returning spirits and the living), more often than not, in the form of Getai(歌台) – a live variety show, is often a noisy accompaniment.
Getai, popular as it is today, is however, a more recent addition as entertainment to accompany seventh month dinners. Before its introduction in the 1970s, it would have been more common to see Chinese opera performances and various forms of Chinese puppet shows at such events and during festive occasions at the various Taoist temples in Singapore.
The various forms of Chinese opera back in the 1960s and 1970s as I remember them, were always looked forward to with much anticipation by the young and old. My maternal grandmother, despite her not understanding a word of the Chinese dialects that were used in the performances was a big fan, bringing me along to the opera whenever it hit town. Travelling opera troupes were common then, moving from village to village setting up temporary wooden stages on which served not only as a performance stage but also as a place to spend the night. The travelling opera troupes brought with them a whole entourage of food and toy vendors with them and it was that more than the performances that I would look forward to whenever I was asked to accompany my grandmother to the wayangs as Chinese opera performances are often referred to in Singapore and in Malaysia.
It was also common then to see more permanent structures that served as stages back then – they were a feature of many Chinese villages and were also found around temples. Perhaps the last permanent stage in Singapore is one that is not on the main island but one found in what must be the last bastion of ways forgotten that has stubbornly resisted the wave of urbanisation that has changed the landscape of the main island, Pulau Ubin, an island in the north-east of Singapore. Although many of the island’s original residents have moved to the mainland and many of their wooden homes and jetties that once decorated the island’s shoreline have been cleared, there is still a small reminder of how life might once have been on the island – a small community still exists, mainly to provide services to the curious visitors from the main island who come to get a taste of a Singapore that has largely been forgotten.
The permanent stage at Pulau Ubin is one that sits across a clearing from the village’s temple which is dedicated to the popular Taoist deity, Tua Pek Kong (大伯公). It is also one that is still used, playing host to Teochew Opera performances by the temple’s opera troupe twice a year – once during the Tua Pek Kong Festival and once during the seventh month festivities. I have long wanted to catch one of the performances in a setting that one can no longer find elsewhere in Singapore, but never found the time to do it – until the last weekend when I was able to find some time to take the boat over for the seventh month festivities which were held on Friday and Saturday evening.
For me, it is always nice to take the slow but short boat ride to the island – something I often did in my youth, not just because Pulau Ubin offers a wonderful escape for the urban jungle, but also because it takes me back to a world that rural Singapore once had been. We do have a few places to run off to on the main island, but it is only on Pulau Ubin that one gets a feel that one is far removed from the cold concrete of the urban world in which I can return to the gentler times in which we once lived.
Although the festivities on the island are now a quieter and a less crowded affair than it might once have been here and in similar celebrations that once took place across the island, it is still nice to be able to witness a dying tradition held in a traditional setting that we would otherwise not be able to see in Singapore any more. While it still is difficult for me to understand and appreciate what was taking place on stage, especially with the amplified voice of the auctioneer booming over the shrill voices of the performers on stage, it was still a joy to watch the elaborately made-up and kitted-out performers go through their routines. It was also comforting to see that the members of the troupe included both the young and the old, signalling that there is hope that a fading tradition may yet survive.
The treat that comes with any wayang performance is that it brings with it the opportunity to go backstage. It is here where we get to see the performers painstaking preparations in first doing up their elaborate make-up and in dressing up in the costumes, as well as watch the musicians who provide the characteristic wind, string and percussion sounds that Chinese Opera wouldn’t be what it is without.
I would have liked to have spent the whole night at the festivities, but as I was feeling quite worn out having only returned to Singapore early that morning on a late night flight, I decided to leave after about two hours at the wayang. The two hours and the hour prior to that on the island were ones that helped me not just to reconnect with a world I would otherwise have forgotten, but also to the many evenings I had spent as a child catching the cool breeze in my hair by the sea. Those are times the new world seems to want us to forget, times when the simple things in life mattered a lot more … There will be a time that I hope will never come when this world we find on Pulau Ubin will cease to exist. I will however take comfort in it as long as it is there … and as long as there are those who seek to keep traditions such as the Teochew opera we once in a while are able to see there, alive.
Close-ups of performers and scenes from the Teochew Opera:
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Tags: Backstage, Chinese Opera, Chinese Opera Stage, Chinese Wayang, Hungry Ghosts Festival, Islands, Photographs, Photography, Pulau Ubin, Pulau Ubin Teochew Opera Troupe, Rural Singapore, Seventh Month, Seventh Moon, Singapore, Singapore Islands, Teochew Opera, Traditions, Tua Pek Kong, Tua Pek Kong Temple, Unseen Singapore, Wayang, Wayang Stage
Categories : Events, Forgotten Places, Growing Up, Heritage Trails, Islands, Performing Arts, Pulau Ubin, Reminders of Yesterday, Singapore, Things I loved about Singapore, Traditions
Living in Singapore, the opportunity to indulge in a session of durian gluttony does present itself every now and again, including one that recently came along. This latest session wasn’t however one that would count as a typical session, but one that did involve what was touted as the world’s largest stack of durians that was dubbed a ‘Durian Extravaganza’. The extravaganza was held at the Hard Rock Hotel’s Coliseum at Resorts World Sentosa (RWS) last Friday evening and involved some 3,000 kilogrammes of the thorny fruit – the creamy yellow pulp covered seeds of which brings delight to many in South-East Asia, so much so that the fruit is worshiped as the ‘King of All Fruits’.
The Coliseum was transformed into a setting designed to take one back to the good old kampong days with dried leaves covering the floor and guests sitting on wooden stools set among thatched roofs – reminiscent perhaps of how many would have enjoyed the fruit in days gone by, days when perhaps due to the short season and relatively small supply, indulging on the fruit was always seen as a huge treat. These days, supply does seem a lot more abundant – with many plantations across the Causeway improving on their yields. The increased supply however hasn’t seen the Singaporean love affair with the fruit diminish in any way with the event at the Coliseum proving it with some 1,200 guests – many members of RWS Invites – a membership programme with RWS, going through the 3 tonnes of fruit over two sittings which took place over a four-hour period.
While the focus of many of the guest were on the durians of which more than six varieties were on offer including the local favourite Mao Shan Wang, there was more than just durians with local seasonal fruits including duku langsat, longans, rambutans and the ‘Queen of All Fruits’ – the mangosteen to complement the durians at the sessions which no doubt left everyone, including some brave non-locals, with not only a full belly, but with a huge statisfied smile (if there was one) on their faces. More information on the Durian Extravaganza as well as some of the varieties of durian on offer can be found at the RWScoop website.
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Tags: Coliseum, D24, Durian, Durian Feast, Hard Rock Hotel, King of All Fruits, Mangosteen, Mao Shan Wang, Photography, Photos, Queen of All Fruits, Resorts World Sentosa, RWS Invites, Seasonal Fruits, Sentosa, World's Largest Stack of Durians
Categories : Events, Food, Reminders of Yesterday, Sentosa, Singapore, Traditions
Of the places that remain of a childhood in a Singapore that I will never be able to see again, there is one which carries not just the memories of yesterday, but also the memory of an emotion that has almost been forgotten. The place, a church – St. Joseph’s Church in Victoria Street, which is housed in a building which on the 30th of June will celebrate its centenary, is one that takes me back to years which hold my earliest memories. It was a place where I had spent many Sunday mornings at mass after which I could look forward to sitting by tables and chairs laid by St. Anthony’s Boys’ School in the church’s compound where I could enjoy a bowl fishball noodles from the enterprising school canteen vendor who opened just to serve churchgoers on Sunday. It was also a place to which my grandmother would take me to every Good Friday, when arriving early to get a seat inside the church for its very popular Good Friday service, I would spend hours seated next to my grandmother as she sat in quiet contemplation.
The church was known then to me as the ‘Portuguese Church’, a name which pointed to its origins in the Portuguese Mission in Singapore and its administration by Dioceses in the Portuguese colony of Goa and later in the Portuguese colony of Macau. The mission’s presence had dated back to the early 1820s – not long after Raffles founded modern Singapore, and predated the French Mission under which the Catholic churches in Singapore were later to come under. The Portuguese presence was to continue through the church which came under the jurisdiction of the Diocese of Macau until 1981 and after through priests appointed to the church until 1999 by the Bishop of Macau. This long association with the Portuguese Mission has not only provided us with the beautiful building that houses the church, but also with a little bit of Portugal that manifests itself in the Iberian flavour of the church’s interior as well as traditions and practices that are unique to St. Joseph’s Church which even to this day is still very much in evidence.
The current church building was blessed by the Bishop of Macau, Dom João Paulino Azevedo e Castro on the 30th of June 1912. The grand ceremony had commenced at 7 am with a procession during which various points around the exterior of the church were blessed before the congregation was admitted into the new church building’s interior in which as newspaper reports would have it “nearly every available space” was occupied.
The congregation that morning would have been the first to marvel at the splendour that was the new church building’s interior, one that even with the worn appearance that it now wears, is still very much a sight to behold. It is this interior, and its 14th Century style Gothic design that for me makes the church the most beautiful in Singapore. The interior is one that at time of the day is illuminated by a soft and beautiful pale green light that streams through the generous panels of stained glass it is provided with that casts both light and shadow on the many niches that line the walls of the church. The niches are ones which contain statues of Saints – statues which in the Catholic tradition are not as is popularly believed, idols, but reminders of ordinary people who have achieved the pinnacle of holiness. It is a statue of one of the Saints high up on the south wall in the middle of the church’s nave that in my childhood I had a fascination with – that of St. Sebastian depicted as he popularly is, bloodied and tied to a tree.
The church is laid out as was the tradition on a plan in the shape of a cross – a Latin cross in this instance. The nave which ends with the apse in the shape of five sides of an incomplete hexagon in the west which houses the Chancel and the main entrance to the east, is crossed by a transept. The high ceiling allows the provision of the many stained glass windows along the upper levels of the nave and the transept and those that attended the blessing ceremony would have seen this but not the stained glass that has to be seen as the church’s crowning glory – the beautiful panels in the Chancel which although now in a state of disrepair, can still be appreciated as one of the more elaborate works of such kind found in Singapore. The panels were the work of Belgian artisans from Jules Dobbelaere’s studio in Bruges. The church’s stained glass which are now in an obvious state of disrepair will be part of a restoration effort that will commence soon after the church celebrates the building’s 100th Anniversary. The work which will take two years of painstaking effort to complete will be carried out by a Singaporean stained glass artist, Bee Liang, who has extensive experience in the work from her stints in Canada and training in Germany.
Besides the beautiful stained glass – the very elaborate high altar of white and coloured marble dedicated to St. Joseph is another that is worth taking a notice of. The church also features some excellent carved teak wood pieces – one which runs along the transept is a 40 metre long altar rail along which the faithful would once have knelt to receive Holy Communion. The carved piece that will certainly be noticed is the ornamented teak pulpit with its canopy, one that I never failed to notice every time I visited the church.
The church which once shared its compound with two schools – St. Anthony’s Boys’ School and St. Anthony’s Convent, is the last of the three to remain and having been gazetted as a National Monument in 2005, will be one that will certainly be there for a much more than the 100 years it has stood, for which a mass will be held at 10.30 am on 30th June 2012. Besides the work on the stained glass, there is much more repair work that needs to be done – the ravages not just of time, but also of nearby construction activity are clearly evident which will require funds to be raised. It will not just be the magnificent building and all that it holds that will with its restoration and conservation be retained, but also of a tradition that its has been proud to maintain that dates back to the early days of Singapore.
More views around the church in the morning light
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Tags: Altar, Architecture, Catholic Churches, Churches, Conservation, Jules Dobbelaere, Middle Road, National Monuments, Photography, Photos, Portuguese Church, Portuguese Mission, Pulpit, Queen Street, Religious Architecture, Restoration, Singapore, St. Joseph's Church, Stained Glass, Traditions, Victoria Street
Categories : Architecture, Architecture, Bras Basah, Conservation, Growing Up, Heritage Trails, Middle Road Area, National Mounments, Reminders of Yesterday, Singapore, Traditions
Set in the heart of an area that is synonymous with the Chinese Peranakan community in Singapore, Joo Chiat, is a little gem of a place that awaits discovery – The Intan, which in Malay translates to ‘rose-cut diamond’. The Intan is a Peranakan home-museum which is owned by an antique collector, Alvin Yapp and is set in a somewhat nondescript house that is typical of the area. It is only in stepping through the door that the pure delight of the place becomes evident as one sets foot in a world where the rich culture of a forgotten time awaits discovery.
The house that The Intan is set in, is typical of houses that are associated with the community. It is long and narrow – an architectural feature that takes one back to a time when taxes to be paid were determined based on the number of windows a house had. Once inside, the soft light that filters through its narrow openings and skylights reveals the wealth of what The Intan holds – a superb collection of all things unmistakably Peranakan. This includes larger items of furniture, very distinctly coloured Peranakan pieces of porcelain, as well as personal items that include jewellery, embroidery and kasut manek (beaded slippers).
The collection and the acquisition of knowledge of the culture for Alvin started when back as a teenager, watching a play triggered an increased awareness of his cultural background. This brought about a quest to understand a sub-culture that was fast being diluted by the gravitation towards a common Chinese identity. With requests received from friends first to view his collection which extended to requests to sample food from the kitchen, the idea to convert his home – then a flat in Marine Parade, into a museum. The Intan itself was started in 2003 and today hosts visits (by appointment only for a minimum of eight persons) for tea or dinner which includes a guided tour of the house, a sharing of insights into the Peranakan culture as well as a sharing of some fascinating personal stories. The Intan also hosts private functions, art sales and small concerts. More information on The Intan, which was invited to become a member of the Museum Roundtable and won the Best Overall Experience Award at the Museum Roundtable Awards 2011, is available at their website www.the-intan.com. Appointments can be made by calling +65 6440 1148.
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Tags: Alvin Yapp, Best Overall Experience Award, Chinese Peranakan, Joo Chiat, Museum Roundtable, Museum Roundtable Awards 2011, Peranakan, Peranakan Culture, Peranakan Home Museum, Peranakan House, Photography, Private Home Museum, Singapore, The Intan
Categories : Architecture, Joo Chiat and Katong, Museums, Private Museums, Reminders of Yesterday, Singapore, Traditions