The Old Vic’s ticking once again

22 07 2014

The Old Vic’s finally back. Having seen it look increasingly tired over the years, it’s nice to see that it’s not just been freshened up during a four year hibernation, but has also been done up very nicely for its role as a mid-sized performing arts venue for the future.

Ticking once again is the clock at the Old Vic.

Ticking once again is the clock at the Old Vic.

The Old Vic's definitely back!

The Old Vic’ made new.

A passageway regained by the side of the concert hall.

A passageway regained by the side of the concert hall.

I had the opportunity to have a quick glance at the newly refurbished Vic at an exclusive tour organised for a group of bloggers over the weekend of the Open House, with a visit to the top of what to me has always been the mysterious clock tower thrown in; and I must say, there isn’t anything there is to dislike about its latest makeover – except that is that everyone now seems to want to refer to the well-loved monument by its acronym VTCH (for Victoria Theatre and Concert Hall). We in Singapore do have a penchant for using acronym, but extending the practice to our well loved icons, doesn’t seem quite right.

The queue at the opening of the Open House.

The queue at the opening of the Open House.

We got a peek at the inside of the clock tower.

We got a peek at the inside of the clock tower.

It will always the old Vic to me, a landmark that we have long identified with our Lion City. It is where the founder of modern Singapore, Sir Stamford Raffles, has maintained his proud position – almost uninterrupted (the statue was removed from its position during the Japanese Occupation in 1942 and restored in 1946) since 1919, the centenary of him setting foot on the island at a point not far away on the river bank and setting the ball rolling on a chain of events that has brought us to where we are today. The chimes from its clock tower were ones that flavoured my childhood and it was something I looked forward to hearing on the many occasions I found myself in the area in the days of my childhood.

Inside the refurbished Old Vic - seen on the third level below the glass roof of the Central Atrium.

Inside the refurbished Old Vic – seen on the third level below the glass roof of the Central Atrium.

The refurbished theatre.

The refurbished theatre.

The section of the building that has served as the concert hall since the late 197os was of course the Victoria Memorial Hall back in the days of my youth, a name I still have the tendency, as with many of my generation, to use in referring to the National Monument. There were several occasions when I did have a chance to pop into it – it had been the site of many exhibitions in the days before the former World Trade Centre and the former Harbourfront took over as Singapore’s main exhibition venues.

The entrance to the former Victoria Memorial Hall - the area below the concert hall where the box office is located.

The entrance to the former Victoria Memorial Hall – the area below the concert hall where the box office is located.

The concert hall, which served as the home of the Singapore Symphony Orchestra (SSO) from 1979 until the SSO shifted to the Esplanade in 2002, was actually a 1905 addition to the building, built in the memory of Queen Victoria. The original section, built as a town hall in 1862, was then remodelled to complement the memorial hall in a symmetrical fashion and reopened as a theatre in 1909. The clock tower, with chimes and clock by the Straits Trading Company, was completed in 1906.

A view from the clock tower.

A view from the clock tower.

Over the years, several modifications were made to the buildings. This included a significant makeover in the 1950s, which saw the two buildings air-conditioned, and the seating capacity of the theatre doubled. That makeover also saw the incorporation of the previously open courtyard between the two buildings into the structure with it being covered up – a modification that has to an extent, now been reversed.

The Central Atrium - where the courtyard between the two buildings had been.

The Central Atrium – where the courtyard between the two buildings had been.

A look through the old arches to the new relief etched panels of the theatre.

A look through the old arches to the new relief etched panels of the theatre.

A glass roof now allows light into a rather pleasant looking and air-conditioned courtyard, the Central Atrium, restored partially on the side of the concert hall. Not only does this allow a wonderful view of the clock tower, it allows it to serve as a through passageway from the front of the buildings to the back. At the back a magnificent view of Old Parliament House, now The Arts House, Singapore’s oldest government building, in its full glory awaits.

The Arts House - at the end of the passageway.

The Arts House – at the end of the passageway.

The Central Atrium is where we see a tasteful blend of old and new. The rolling back of the modifications made to maximise the capacities of both the theatre and the concert hall, sees the boundaries of both pushed back to the original locations, allowing the columns and arches to be brought out. On the side of the concert hall, we see how it may have been with its ornate archways and rusticated columns restored. It is however the side of the theatre that seems most interesting, it is there that we now see a reinterpretation of courtyard side of the old theatre, with the use of relief etched precast panels providing a modern and forward looking impression, partly to compensate for the absence of information relating to the original architectural details, in contrast to that on the side of the concert hall.

The precast etched relief panels.

The precast relief etched panels on the theatre side of the atrium.

It was also nice to see how Victoria Theatre has been redone – its seating arranged in the horseshoe shape as it might originally have been with a provision of an orchestral pit. This has reduced its capacity from 900  to 614, providing it with a more intimate setting. More importantly, the modifications must now give it much improved acoustics – one of the few impressions of the theatre that I have from watching Lea Salonga in a Singapore Repertory Theatre production of the musical “Into the Woods” sometime in the 1990s, was of its rather poor acoustics.

The refurbished theatre.

The refurbished theatre.

It is interesting to see that several items from the old theatre have been incorporated into the new – with the backs of the old seats decorating the entrance foyer, seen in a floating “Rubik’s Cube”. Frames and material from the old seating are now also seen in the remodelled theatre, such as the cast-iron components incorporated into the newly installed acoustic timber walls.

A re-used part of the frame of the old seating.

A re-used part of the frame of the old seating.

The 'Rubik's Cube' in the theatre's foyer and a reflection of it on a counter top.

The ‘Rubik’s Cube’ in the theatre’s foyer and a reflection of it on a counter top.

While some of us did not get to see the 673 seat concert hall, we did hear the glorious strains from Dr Margaret Chan’s masterful pipe-organ performance from the foyer where we got to see the suspended balcony – replacing the previously added balcony that had to be supported by intrusive structures, to free up volume and improve acoustics.

The refurbished concert hall (photo courtesy of Victoria Theatre and Concert Hall).

The refurbished concert hall (photo courtesy of Victoria Theatre and Concert Hall).

The suspended balcony.

The suspended balcony.

What we got to see that most visitors during the Open House didn’t was the clock tower (which incidentally has had its crown restored), which I had been curious about throughout  my childhood. The inside of the clock tower turned out to be quite different from the one I had envisaged – the clock’s mechanism and the five bells seemed a lot smaller than what I had imagined as a child.

The chime bells and a clock face on the platform below.

The chime bells and a clock face on the platform below.

The writing on the largest bell: 'This clock and chime of bells were presented to the Queen Victoria Memorial Hall by the Straits Trading Company, 1905'.

The writing on the largest bell: ‘This clock and chime of bells were presented to the Queen Victoria Memorial Hall by the Straits Trading Company, 1905′.

The clock has seen an improvement during the refurbishment – an automatic winding mechanism was added. Prior to this, the clock had to be rewound manually, requiring a winder and maintenance man to ascent up 176 steps once a week to spend up to an hour winding the clock.

The long road to the top - 176 steps for the winder who would have to ascend once a week.

The long road to the top – 176 steps for the winder who would have to make the acsent once a week.

An automatic winder has been added to the clock's mechanism.

An automatic winder has been added to the clock’s mechanism.

While the chimes I am told, can be heard as far away as the Esplanade, it didn’t quite sound as loud as one might have expected standing right by the bells, seemed minute compared to the bells that Quasimodo lent his hand in ringing. Beside the thrill of hearing the bells chime at 11 o’clock, there was also the bonus of taking in the magnificent views of the surroundings and the contrast of the old Padang surrounded by the architectural symbols of colonial power next to what architectural historian Lai Chee Kien, calls a new “liquid padang” – surrounded by the architectural symbols representing the new power.

The clock level.

The clock level.

The refurbishment of the old Vic coincides with an effort that will also see a renovation of the Asian Civilisations Museum and the transformation of the Old Supreme Court and City Hall into the National Gallery Singapore – all scheduled to be completed next year. That will complete the transformation of an area that had been at the heart of the colonial administration into an arts and cultural hub – what the Urban Redevelopment Authority (URA), in their 2014 Master Plan, terms as a “Civic and Cultural District by the Bay“.

For more information on what is envisaged for the Civic District as part of URA Master Plan 2014, do visit the following links:

More information on Victoria Theatre and Concert Hall and its recent refurbishment can be found on their website.


Some key dates relating to the Victoria Theatre and Concert Hall:

17 March 1855

The foundation stone for the new Town Hall was laid by the Governor of Singapore, Colonel W. J. Butterworth.

1902 – 1905

Victoria Memorial Hall was built in memory of Queen Victoria’s reign. Victoria Memorial Hall and Tower were joined to the existing theatre by R. A. J. Bidwell of Swan and Maclaren, with passageway between the two buildings.

18 October 1905

Victoria Memorial Hall was officially opened by the Governor of the Straits Settlements, John Anderson.

1906

The construction of the signature clock tower was completed. This was later than expected due to the delay in donation of the clock and chimes by the Straits Trading Company.

1909

The first performance that took place in the newly completed Victoria Theatre was Sirs William S. Gilbert and Arthur S. Sullivan’s well-known and amusing opera, The Pirates of Penzance, staged by the Singapore Amateur Dramatic Committee.

6 February 1919

On Centenary Day, T. Woolner’s statue of Sir Stamford Raffles was moved from the Padang to Victoria Memorial Hall, taking the place of the bronze elephant presented to Singapore by King Chulalongkorn.

Early 1942

The Victoria Memorial Hall was used as a hospital for victims of bombing raids by the Japanese forces during World War II.

1946 – 1947

Victoria Memorial Hall was used as a location for war crimes courts.

21 November 1954

The inaugural meeting of the People’s Action Party was held at the Victoria Memorial Hall.

1954 – 1958

Major renovations were carried out including a complete restructuring of the interior of the theatre. Air-conditioning and sound-proofing was added and the courtyard covered up.

4 November 1957

The public had its first glimpse at television when William Jacks and Co presented a full length variety show on television at the annual Philips Radio Convention held at the Victoria Memorial Hall.

15 February 1963

Television Singapura (Singapore’s first TV station) was launched with a pilot monochrome service at the Victoria Memorial Hall.

1979

Victoria Memorial Hall was renamed the Victoria Concert Hall and named as the official home of the Singapore Symphony Orchestra.

1980s

A gallery was added to the Concert Hall, adding seating capacity and enclosing the second storey balconies on the front and back facades with glass.

1990s

Renovations were carried out to Victoria Theatre to make it a more efficient performing venue.

February 1992

Victoria Theatre and Concert Hall was gazetted as a national monument of Singapore.

2010

The Victoria Theatre and Concert Hall was closed for a $158 million renovation.

2014

Victoria Theatre and Concert Hall reopened its doors after a four-year renovation.


 





Toa Payoh and a gunman called Hun Cher

5 07 2014

It probably is hard to imagine Toa Payoh holding a reputation for being a hotbed of criminal activity – so much so that it was labelled as the “Chicago of Singapore” – a reference to the US city’s long-held reputation as the crime capital of the world. While this reputation had its origins in the squatter settlements in pre-public housing estate Toa Payoh when the rural setting made it possible for gangsterism to thrive such that few from the outside dared to venture in; its reputation stuck with its name well into the first decade of its new life as the first Housing and Development Board (HDB) planned satellite town.

While much of Toa Payoh’s reputation did have its roots in the gangland activities that did go on, it wasn’t so much the incidents involving Toa Payoh’s gangsters that were perhaps most visible but those that did involve individuals or small groups of criminals in Toa Payoh. One of the Toa Payoh’s most famous crimes, the ritual murders committed in a Toa Payoh flat by Adrian Lim and his accomplices in 1983, did happen well after the satellite town had in fact shed its reputation.

It was well before that incident however that another that had the makings of a Hollywood style shootout, made the headlines in 1970, when Singapore’s second most wanted man, Tan Chiang Lai, found himself cornered in a flat in Lorong 5. Tan, who was also known by a nickname “Hun Cher”, was being hunted down by police after he had shot and killed a watch dealer and proprietor of Thim Lock Watchmakers, Mr Fong Tian Lock  in an attempt to rob Mr Fong’s North Bridge Road shop for which Tan and his five accomplices made away with just seven watches.

The robbery on 17 July 1970, was one of a series of armed robberies over a period of two months that Tan had been involved in, starting with a robbery of a shopkeeper of $4200 at Chulia Street on 6 June 1970. The list of robberies also involved a provision shop in Tanjong Pagar, gamblers in a house at 9th Mile Changi Road, the Golden Ringo Nightclub at Outram, and a gambling den in Lorong K Telok Kurau. Constantly on the move to avoid being caught, the Police finally caught up with him and an accomplice Sim Thiam Huat on 27 July, when in a desperate search for accommodation they fell for a trap that was laid by the police when they moved into a police detective’s flat in Block 64 Toa Payoh.

Having cleared the flats around the fourth storey unit of their occupants, the police had the flat surrounded late in the night and with the help of teargas grenades, they attempted to flush the two out just past midnight. Sim surrendered after being bundled out by Tan from the flat’s balcony at its rear. Tan himself chose not to surrender, shooting and killing himself, bringing to an end to his short but violent career in armed robbery. Sim, who was also Tan’s best friend, was sentenced to six years in jail and six strokes of the rotan in August 1970 for the role he played in the Outram Park robbery and a concurrent sentence of five years in jail for the Tanjong Pagar robbery.

There were to be several more incidents involving gunmen, including one the culminated in a showdown at a cemetery in Jalan Kubor in December 1972 and another involving the most wanted man, Lim Ban Lim, who was shot dead in a shootout at Margaret Drive in November 1972, having been on the run for nine years. The spate of violent robberies in the early 1970s led to the harsher penalties being introduced for gun offences. The new laws, introduced in 1973, stipulates a mandatory death penalty for anyone using or attempting to use a firearm to cause injury – this did seem to work and by the time Toa Payoh had shed its long time crime tainted image as the 1970s drew to a close, gun related offences did also appear to be on the wane.

One of these units at Block 64 was where Hun Cher took his life early one July morning in 1970.

One of these units at Block 64 in Toa Payoh was where Hun Cher took his life early one July morning in 1970.





A view from a sandbar

5 06 2014

It was against the backdrop of the drama of a passing storm playing out in the rapidly changing light of the morning, that I found myself standing on a sandbar four nautical miles out into the Singapore Strait.

Terumbu Pempang Laut and beyond, seen in the light storm coloured morning.

The view from a sandbar in the light of the storm coloured morning.

The view from a sandbar, four nautical miles out.

A rainbow appears as the weather clears.

Walking where few now thread.

Walking where few now tread.

Reflections on the morning.

Reflections on the morning.

The scene revealed by the transformation of night into day in the darkness and light of the storm coloured morning was one that did seem rather surreal, disfigured by the craggy interventions of the natural world juxtaposed against the human interventions that now dominate Singapore’s nearshore.

The morning's drama.

The morning’s drama.

Light in the darkness.

Light in the darkness.

Juxtapositions of the natural world against the human world.

Juxtapositions of the natural world against the human world.

Spot light on the interventions of men that now dominate Singapore's nearshore.

A natural spotlight on the interventions of men that now dominate Singapore’s nearshore.

It wasn’t quite what I had intended in interrupting that much needed weekend’s slumber. The excursion was one to have a feel for the patch reef, Terumbu Pempang Laut, to which the sandbar was a part of, as well as the island to its south, Pulau Sudong, regular visitors from which it would once have hosted.

The changing hues in the early hours of the day as seen from the boat.

The changing hues in the early hours of the day as seen from the boat that left at 6am.

A northward view across the reef.

A northward view across the reef.

The expanded Pulau Sudong, as seen from Terumbu Pempang Laut.

The expanded Pulau Sudong, as seen from Terumbu Pempang Laut.

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It was as close as one could get to Pulau Sudong, now part of a restricted military zone. The island, once itself not much more than perhaps a spit of sand that was part of the surrounding reefs, had been one of several islands off Singapore’s south-western shoreline on which stilted villages of the sea had decorated.

Pulau Sudong in the 1950s (source: National Archives of Singapore Online).

The dwellings on stilts arranged around the island’s foreshore, had been on that had evolved from buoyant mobile dwellings of those, the sea nomads from the pre-Raffles era, who the occupants had inherited the seas from. Living on the sea, the nomads and their descendants also lived off it; the waters and the reefs around the island, contributing much to their livelihoods.

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Even without there being a source of fresh water, the island at its height, supported a community of several hundred and boasted of schools (there apparently were two in the 1940s), a clinic, a community centre and a police post.

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The reefs, teeming with marine life and exposed as the tide receded, was where life on the islands might have often extended to. Men would be seen laying their bubu, traps made by the fishermen themselves out of strips of bamboo, weighing them down with corals that the reef did provide. The womenfolk also found their way to the reefs, seeking a harvest of both edible produce of the sea and items such as corals that could be sold.

Corals were harvested by the women of Pulau Sudong.

Corals were harvested by the women of Pulau Sudong.

Life as the reefs might have seen, is quite wonderfully captured in words by Chew Soo Beng, who in “Fishermen in Flats” (1982), describes the activity on a Terumbu Raya, a reef to Sudong’s west:

Groups of women row their kolek to different parts of the exposed portions of the reef to gather sea produce. In the past, this activity was performed with considerable gaiety, seeming to be an enjoyable activity. Everyone carried a basket and unmarried girls wore bunga raya (hibiscus flower) in their hair.

In teams of threes or fours, usually to form a line, they combed the reef for agar-agar (an edible seaweed), gulong, the trepang and a variety of beche-de-mer. When both the tide and sun were low, the gather chatter of the women at work would drift into the village where the men, excluded from the offshore merriment, conversed beneath their favourite pondok.

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The reefs see a different merriment today. The chatter of women gathering in the harvest is now replaced by the excitement of sea birds seeking a harvest of their own. Human chatter is now heard on occasion, of those who seek only to harvest what the reef can tell them – as an part of a continuous marine survey that the tireless Ria Tan of the Wild Shores of Singapore champions.

The merriment the reefs see today are those of the sea birds seeking their harvest from the sea.

The merriment the reefs see today are those of the sea birds seeking their harvest from the sea.

It was with the group that I ventured out to the sandbar. Of the finds of the morning’s harvest, the one that did perhaps trigger the greatest excitement was a sighting of a small giant fluted clam. This find, along with what else the reef did reveal, is described by Ria in Terumbu Pempang Laut check up in her blog, which is a glorious celebration of life on our shores.

The giant clam that raised the level of excitement.

The giant clam that raised the level of excitement.

On the reef's edge.

On the reef’s edge.

One thing that Ria does point out in her post that did get my attention, is that life around the shores of the reefs and the islands might to come to an end. The reefs, along with the cluster that it belongs to which also includes Terumbu Pempang Tengah to its immediate east and  Terumbu Pempang Darat, face an uncertain future. The Land Use Plan, released to support the less than popularly received Population White Paper in early 2013, does show that the area is one where future land reclamation work could take place.

Possible future reclamation poses a threat to the future of the reefs (and the islands).

Possible future reclamation poses a threat to the future of the reefs and the islands (source: Land Use Plan 2013).

If that does happen, the reefs will be incorporated into part of a land mass that will include the Bukom cluster of islands and the Hantu twins, leaving the only ghosts haunting our southern shores (hantu translates into “ghost” in Malay) – there was also another Pulau Hantu that has since been renamed as Keppel Island, that of lost islands and reefs, and of a people and a way-of-life that will never again be seen.

The future of many of the islands as individuals such as Pulau Jong, are also under threat from the Land Use Plan.

The future of many of the southern islands as individual islands, such as Pulau Jong (seen here with Pulau Sebarok), are also under threat from the Land Use Plan.

Life on Pulau Sudong, one of the last of the Southern Islands to host a resident population, did itself come to an abrupt end in early 1980. By then, reclamation that added some 174 ha. to its area, had already decimated the once rich fishing grounds that surrounded it, prompting a move for many in the late 1970s to seek a new beginning in Tanah Besar as the mainland was referred to, completing an assimilation into the Malay world.

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Initially intended as a recreational island, Pulau Sudong was closed to the public in mid-1982. Used since as part of an air force live-firing area that also includes Pulau Pawai and Pulau Senang to its south, what ghosts it may have inherited from its long discarded past, may also have abandoned it.

Reflections off a lagoon at low tide.

Reflections off a lagoon at low tide.

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The final mile

12 05 2014

A last reminder perhaps that’s left of an age when distance markers played an important role in Singapore is a milestone marker that was uncovered quite recently, having long been hidden behind a tree. Discovered by Akai Chew, who recently posted his findings ‘On a Little Street in Singapore‘, the granite marker lies half buried, it’s top half carved with the number ‘3’ – which does, in the position it is found in, correspond to the 3rd Milestone of what would have been a main thoroughfare taking one out of the city towards rural Singapore.

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The use of ‘milestones’ as markers of a location, had by the time I came into the world, become a widespread practice in Singapore. This was possibly somewhat of a necessity, given the absence of recognisable landmarks and a clear system for addresses in many of the rural areas. It was common to hear places referred to by where they were distance-wise along a particular thoroughfare, a practice that for many who developed a habit of doing it, is being carried to this very day (examples: 9th Milestone Bukit Timah, 6th Milestone Serangoon) long after the introduction of the metric system got us thinking in kilometres.

Milestones markers, when I did became aware of them from the many drives my father made across the causeway, were not quite as noticeable in Singapore as they were along the Malaysian trunk roads. There, the markers provided a measure of the distances along points along the road to the next main town or towns. This did help in estimating the time it would take to arrive at a destination, and making those seemingly endless drives a little less monotonous.

One thing that I did remember from those days, was that ‘Singapore’ was a distance of 17 miles by road from Johor Bahru – the distance being measured to the General Post Office or G.P.O. (what is today more commonly referred to as the Fullerton Building). For an interesting insight into how this did come about, please visit James Tann’s blog, which does have a post on the subject of ‘mile zero': The geographic centre of Singapore.





A window into a Singapore we have discarded

6 05 2014

It may well be on the island from which the early building blocks of modern Singapore was obtained that we will find the last reminders of a way of life the new world it built has rendered irrelevant. The island, Pulau Ubin or the granite island, is the last to support the remnants of a once ubiquitous village community, a feature not only of the island but also much of a rural Singapore we no longer see.

A window into a forgotten way of life.

A window into a forgotten way of life.

While in all probability, the days for what’s left of the island’s village communities are numbered; there remains only a handful of villagers who now number in their tens rather than in the low thousands at its height and who hold stubbornly on to a way of life that will have little appeal to the generations that will follow; there at least in a well preserved village house, House 363B, that little reminder of a time and place that does now seem all too far away.

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House 363B is typical of a Chinese village dwelling, with a zinc roof, and a cemented base supporting half cemented and half wooded walls. Outside it, rubber sheet rollers tell us of days when much of the rural landscape had been dominated by rubber trees. On the inside, there is a collection of once familiar household items. These include a food safe – complete with receptacles placed under its four legs to keep insects out (a necessity in homes in the pre-refrigerator era), classic furniture, foot-pedal sewing machines, dachings and other implements of that forgotten age. It is in the house where life as it might have been, sans life itself, is being showcased, providing the generations of the future with a glimpse of how we did once live.

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The house is perhaps symbolic of what we in Singapore hope for Ubin, not just an ready made escape from the brave new world we have embraced just a short boat ride away, but in its wild, undisturbed, and unmanicured state, a world where we can relive a life we have discarded.

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Ubin does of course offer potentially more than that. The authorities do seem to be committed to not only keeping it in its rustic state for our future generations, but are also taking efforts to regenerate and protect its natural environment. This along with the noises being heard on an interest to keep what is left of the island’s heritage, the efforts taken in developing environmentally friendly solutions in the provision of electrical power for the island, and the attempts to engage Singaporeans on what they would like to see of Ubin (see also Enhancing Pulau Ubin’s heritage and rustic charm), does give us hope that Ubin will not become another part of a forgotten Singapore that will be lost.

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On the subject of Pulau Ubin, the Tua Pek Kong Temple on Pulau Ubin (Pulau Ubin Fo Shan Ting Da Bo Gong Temple or 乌敏岛佛山亭大伯公庙), hosts an annual festival in honour of the deity over 6 days this year from 12 to 17 May 2014. It is well worth a visit there to soak up an atmosphere of a traditional religious celebration in a setting that is only available on the island.

The highlights of the celebration, besides the religious ceremonies, include Teochew Opera performances on each of the first five evenings (12 to 16 May) at 7pm and one in the morning of the last day at 10 am, as well as a Getai performance on the last evening that does draw a huge crowd. Free boat rides to Ubin will also be offered during the festival evenings from 6.30 pm (to Ubin) and up to 10 pm (from Ubin). More information on this year’s festival can be found at this site.

More information on previous Getai and Teochew Opera performances on Pulau Ubin can be found at the following posts:


 





A sunrise over the lost country estate

10 04 2014

6.57 am, 3 April 2014, the colours of the new day, as was seen from Mount Rosie Road, close to it junction with Chancery Lane. It was in this vicinity that what must have been a very grand wooden bungalow from which the area got its name, Mount Rosie, had once stood as the centrepiece of a vast country estate.

Mount Rosie Sunrise

Built in the 1880s as the residence of Mr. Theodore Heinrich Sohst, a German trader who once served as the Acting German Consul to Singapore as well as the Honorary President of the Teutonia Club, the bungalow, as was the country estate it stood as the centrepiece of, was named after Mrs Sohst, Rosie de Souza who was of Eurasian heritage and whom he married in 1868.

The grand residence, described as a “princely establishment”, was built to be spacious and airy with generously large verandahs arranged around it, in the fashion of the stately homes of the well-heeled that did come up in the early days of Singapore. It had a magnificent position from which it commanded a view of the expansive estate, having been placed “on top of a hill with a fine stretch of open country around it”, and it must have been been a sight to behold, a focal point not just of the estate, but also of social life as it had been known to be.

Coming ashore in 1865, Mr. Sohst’s career here spanned a significant proportion of the history of the trading firm, Puttfarcken, Rheiner and Company, having arrived just seven years after it was established, serving as its Managing Partner at the time of its liquidation in 1906 when it had been renamed Puttfarcken and Company.

With the passing of Mr Sohst in January 1912, there were to be several more occupants of the bungalow. One was a Mr. Frank Adam, the General Manager of the Straits Trading Company, before it was first leased, from the early 1920s to the War Office, reportedly at a large cost. This was for use as a temporary residence of the British General Officer Commanding (GOC) of Malaya and it was during this time that Mount Rosie was renamed as Flagstaff House, in 1925.

With the completion of a purpose built Flagstaff House in 1938 (now Command House), the bungalow passed into the hands of Raffles College. As Mount Rosie Hostel, it was used as to house female students at the college (and later the University of Malaya) until 1958. It was used temporarily as a home for old folks after this, when a place was needed to house residents of Nantina Home in Queen Street, when that was closed in 1959.

A view of what Mount Rosie did look like can be found in this article, $100,000 House for Malays’s G.O.C., in the 14 March 1937 edition of The Straits Times.





Light after dark: Twilight falls on West Hill

24 03 2014

7.44 pm, Sunday 23 March 2014. Night falls on an area around where West Hill had once stood, at  the end of extremely hot day in Singapore.

JeromeLim 277A3090

The now forgotten West Hill was a relatively high point that rose above the swampy ground around Sungei Sembawang. It had lent its name to West Hill Village – a village that grew around the south-eastern fringes of the huge naval base that once dominated Singapore’s northern coast. The village that was in more recent times known to us as Chong Pang Village in which names of schools such as West Hill School and Si San (西山 – West Hill in Chinese)Public School served to remind us of the village’s original name. There is little that remains of this part of the area’s past and much of the area is now dominated by the public housing estate that has come up around the Sembawang area.








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