A defining moment in photographs: the 1959 elections that propelled the PAP into power

17 02 2018

Thanks to LIFE Magazine’s John Dominis, we are able to get an interesting look back to a defining moment in Singapore’s history – the momentous 1959 elections that saw the People’s Action Party propelled into power.

The elections, held on 30 May, was to elect the first Legislative Assembly of a fully self-governing Singapore. The PAP claimed 43 of the Assembly’s 51 seats. While their victory was not unexpected – with the PAP the only party contesting all 51 seats – the manner and margin of its victory had alarm bells ringing with many, especially in Britain, concerned about the PAP’s leftist leanings.

Mr. Lee Kuan Yew speaking at an election rally outside Clifford Pier.

The crowd at the same rally.

Mr. Lee Kuan Yew addressing the crowd.

The PAP team at the rally – including Mr. Lee and Mr. S. Rajaratnam.

On the campaign trail.

Election day crowd at Orchard Circus.

A voter arriving at the Tuan Mong School voting centre by trishaw.

A view of Tuan Mong School at Tank Road.

Mr. Lee Kuan Yew arriving at Tank Road.

Mr. and Mrs. Lee arriving at Tuan Mong School.

Joining the queue.

Waiting in queue.

A section of queuing voters at Tuan Mong School.

A view down Tank Road.

Tuan Mong School – with a view towards the steeple of the Church of the Sacred Heart.

The queue of voters at Ai Tong School in Telok Ayer Street (Singapore Hokkien Huay Kuan Building). A queue can also be seen across the street at Chong Hock School (at Chong Wen Ge) next to the Thain Hock Keng Temple.

Outside the Chong Hock School (Chong Wen Ge) at Telok Ayer Street.

The scene at the PAP’s Tanjong Pagar Branch Office.

An enterprising vendor through the crowd.

The crowd at Anson Road opposite the counting centre at Gan Eng Seng School.

Another view of the crowd at Anson Road.

A bus carrying ballot boxes arriving at Anson Road.

An election officer carrying a ballot box.

The agonising wait.

Victory?

A garlanded Mr. Lee being carried by supporters.

Supporters gathering around the victorious Mr. Lee.

Jubilant PAP supporters.


Photographs: © Time Inc. for which Personal and Non-Commercial Use is permitted.


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The new star rising at MacTaggart Road

15 02 2018

What’s become of the “conserved” former Khong Guan Biscuit Factory at MacTaggart Road since my last post on it (see: The fallen star of MacTaggart Road) in September 2016:

The former factory – which also served as a warehouse for flour and a residence for the family that owns it, has seen a refreshing transformation with the addition of an eight-storey industrial building behind its distinctive three-storey conserved façade. The design of the quite un-industrial looking new extension seems to have been undertaken by Meta Studio (see: http://meta-current.strikingly.com/#khong-guan-flour-milling-ltd and https://www.facebook.com/meta.architecture/posts/777289939043015).


Photographs of the building before the addition of the new extension:

https://www.facebook.com/thelongnwindingroad/posts/2045557402136053


 





Revisiting the Singapore of the Malay film industry’s golden age

7 02 2018

The Malay Film Productions (MFP) at Jalan Ampas was one of a pair of production houses that entertained a generation of Singaporeans and Malayans. Established by the Shaw Brothers’, the MFP is especially well known. It was where the legendary P. Ramlee made his name, excelling not just as an actor but also as a singer, songwriter and director. Lending his range of talents were to a series of films, his popularity has endured to this day, more than four decades after his sudden and premature passing in 1973.

Main gate to No. 8 Jalan Ampas.

The recent run of State of Motion 2018: Sejarah-ku, organised by the Asian Film Archive, renewed a consciousness for Jalan Ampas. P. Ramlee’s career there coincided with the golden age of Malay cinema – a time when the production of Malay movies was at its most prolific. Besides the screening of films of the genre, a guided tour also plotted a return to the MFP, albeit to its closed gates beyond which the buildings of the former studios stand quite forgotten. The tour, one of two – the other an offshore tour – with which locations where outdoor scenes in several MFP productions were visited, permitted a recall not only of the scenes, but of a Singapore forgotten if not for the movies. Site specific art installations were also presented at the sites, expressing the memories that also lay embedded in the locations .

Participants listening to CLOSURE / TUTUP by Wu Jun Han outside the gates of No. 8 Jalan Ampas.

Standing outside gates at Jalan Ampas, I found myself transported to the confrontational scenes that were enacted at that very gateway by Wu Jun Han’s recording, Tutup or Closure. The scenes, captured in the movie Mogok (Strike), although set in the Eveready  factory, were actually inspired by a strike that took place at the studios that same year involving 120 MFP employees.  The spot was also a location for another movie, the hit comedy Seniman Bujang Lapok,  which P. Ramlee directed and played a leading role in. This inspired a second installation along Jalan Ampas, Izzad Radzali Shah’s Wayang Terbiar (The Theatre that was Left Behind). A diorama of a mini threatre with scenes from the movie depicted, it seems almost altar-like in appearance.

Wayang Terbiar.

I was particularly drawn to Mintio’s Penghibur Hati-Lara (Solace for the Heart) installed just off Tanah Merah Besar Road. The work takes its title from a line in a lullaby “Kau penghibur hati-lara” (you are solace for my painful heart) sung in the film Darah Muda by the female protagonist to her baby in the seaside setting provided by the promenade at the end of Tanah Merah Besar Road. Anticipating separation, the line also suggests a sense of yearning that the artist also intends to evoke with her piece and its location between Changi Prison and the Airport – both sites of separation. The seaside promenade is now buried under a Changi Airport runway. Having been part of an area in which some of my most treasured memories of childhood were made, the artwork also evoked a sense of great longing and of loss in me.

Penghibur Hati-Lara at Tanah Merah Besar.

The former Kangkar Fishing Port, the location for scenes in the 1958 movie Sri Menanti, also provided a setting for Boedi Widjaja’s Path. 9, ))) ) ) )). The artwork, separated from the audience by the Serangoon River is bridged by the sounds of the flute, exploring the divide that the main characters in Sri Menanti faced in their attempts to bridge a cross-religious and cross-cultural gap in finding romance.

Once where a scene of Kangkar’s fishing colourful fishing fleet would have greeted the eye.

The mainland tour’s two other sites were at seaside (or former seaside) locations. At Punggol, the sea provided a backdrop for the scenes from Isi Neraka (Sinners to Hell) that inspired Salleh Japar’s Sulh-I-Kull (Universal Tolerance). The Shaws’ former seaside villa was used as a symbol of the individualism brought about by materialism and wealth in P. Ramlee’s Ibu Mertua Ku. P. Ramlee’s character in the movie violently blinds himself after he realises the circumstances in which he regained his sight after a previous spell of blindness. It is this loss of sight that the site’s installation, Tan Peiling’s 0.25 Seconds before an Image is Void, provides a response to.

The former seaside villa of the Shaws at which Liz Taylor was hosted on her visits here.

I was also able to join the offshore tour, which included a visit to Pulau Ubin – off which Pulau Sekudu or Frog Island lies. The rocky islet, a popular spot once for photo shoots, served as locations for Hang Tuah (1956) and Hang Jebat (1961). A central theme in the two movies is loyalty, betrayal and feudal authority. That is played out in the final fight scenes that both movies feature, which pitted 15th century pair of warriors – one-time close companions. The questions of the loyalty, betrayal, brotherly love, rage and desire expressed during the fight are what Akulah Bimbo Sakti’s Cinta Tuah Jebat examines. The artwork, a live performance accompanied by a recorded audio playback takes place on a beach on Ubin and within sight of Sekudu. More on State of Motion 2018: Sejarah-ku, which runs until 11 February 2018 can be found at https://stateofmotion.sg/2018/.

Pulau Sekudu, where the final fight scene in Hang Tuah and Hang Jebat was filmed.

Cinta Tuah Jebat (The Love of Tuah and Jebat).

 





Finding joy in a space in which Joy was bottled

21 12 2017

The photographs of the site of the former National Aerated Water Co. used in this post were taken during a private visit organised by the Urban Redevelopment Authority (URA) for invited guests and have been used with the kind permission of the site’s current owner. Do note that the site is not opened to the public.


Disused spaces bring great joy, even as in the case of the former National Aerated Water Co’s bottling plant at 3MS Serangoon Road, the paraphernalia associated its use has long been removed. There is much to learn from the spaces, especially those that were conceived with little in way of frills in an age of greater simplicity. The disused plant, fronted by an art-deco-esque tw0-strorey structure placed along a thoroughfare that would have been hard to miss, last saw use some two decades ago. Associated with the bottling of two popular soft-drink labels, Sinalco and the joy in a green bottle that was the comic strip inspired Kickapoo Joy Juice,  there are many now who look back fondly at the now empty building that is one of few constants in an area that has seen much change.

The art-deco front of the former factory is a rare constant in an area that has seen much change.

The good news we heard just last week was that a portion of the former plant – its front – is being conserved. Selangor Dredging purchased the site for residential redevelopment just last year and has over the year been working with the URA on the conservation of the former plant’s most recognisable feature and its face – the art-deco main building.

The disused factory offers us a window into the past.

The factory, of a 1954 vintage, last saw operations some two decades ago. Built at a time of increasing demand for soft drinks, the home-grown company’s new plant found immediate success. The investment in the state-of-the-art factory and bottling equipment on the company’s 25th Anniversary was motivated by Sinalco’s 1952 award of exclusive bottling and distribution rights. An interesting nugget of information was shared by the URA about the rather peculiar name of the German drink was that it was derived from the words “sine alcohol” or without (in Latin) alcohol. More on the plant and the company can be found in a previous post: Losing its fizz: the third milestone without the former National Aerated Water plant.

Writings on the wall: soft drinks bottled at the plant … plus a secret formula perhaps.

The L-shaped building being conserved was where the company was run from. Offices and a mixing room were located on the upper floor and a reception, the storage area and distribution spaces on the lower level. The conserved building has several interesting features. These include a purpose designed “signage tower” on which the Sinalco logo was emblazoned, a tapering balcony at the front with a fair-faced brick parapet facing the road on which the company’s name is mounted, and a built-in sun shade projecting out from the building’s side that spirals out of a circular window (see: Conserved features of the building at “Former National Aerated Water Factory building to be gazetted for conservation” identified by URA). Parts of the building will have to be rebuilt. This includes the southeast corner, which will have to be knocked-down to permit vehicular entry to the site for construction.

A sun shade or concrete, spiraling out of a circular window.

The signage tower.

Office space on the upper floor.

Redevelopment will take place on the site just to the rear of the conserved building and this will see several structures removed, including the wide-span steel truss supported roof structure under which the main shopfloor of the plant was sited. This roof construction, topped with corrugated roofing sheets, has ample window covered openings built in to it to maxmise the entry of light and ventilation. An auxiliary building, that would have contained service spaces including toilets that can still be seen, can be found close to the rear perimeter of the site.

The shopfloor and the roof structure through which light into the factory was maximised.

The building at the rear of the site.


A look around …

A last reflection. The reception area at the southeast side of the building.

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The fair-faced brick parapet.

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Windows from the past into the present.

The main staircase.

The tapered front facing balcony.

The rear of the office space – which overlooked the shopfloor. Part of the roof structure can be seen.

Timber doors and matching ventilation grilles above are seen on the outward facing boundaries of the main building.

A view from the former shopfloor towards the main building. The right portion of the building was where crates of soft drinks were stored and dispatched.

The southwest side of the building.

The part of the building that will be reconstructed.

The office space on the upper floor.

The mixing room.

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Joyful switches.

A view out the back of the office space towards the roof and the shopfloor below.

A close-up of the corrugated roofing sheets.

Frosted or textured glass is in evidence throughout to filter light that would otherwise have been too harsh.

Close-up of a textured glass panel.

Up on the roof.

A view over the top.

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Textured glass windows.

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A ventilation house?

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Dead slow ahead. The part of the factory that will be demolished as seen from the driveway.

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The pump at the driveway, which is visible from the outside.

Comfort facilities at the rear.


 





Yay! The former National Aerated Water Co. plant is being conserved!

15 12 2017

Notices in the back pages of the press can sometimes bring joy.

An notice that gave me a sense of happiness appeared in today’s edition of the Straits Times, which contained a list of proposed amendments to the Master Plan being made by the Urban Redevelopment Authority (URA). One is the re-designation of part of a certain Lot 05052P, Mukim 17 at Serangoon Road as a Conservation Area, which OneMap identifies as the site of the former National Aerated Water Company’s bottling plant. The possibility of its conservation was actually discussed a year back after the site was purchased by property developer Selangor Dredging. The developer intends to redevelop the site for residential use, which interestingly appears as the “Jui Residences” – a play I suppose on the Hokkien word for water Jui or 水, on OneMap. What is now left to be seen is how much of the former factory can be retained.*

More on the plant, the social memories connected with it, and its history can be found in this post: Losing its fizz: the third milestone without the former National Aerated Water plant.

The notice on page C16 of today’s Straits Times and the lot as identified on OneMap.

The former National Aerated Water plant by the Kallang River.


*A press release issued by the URA indicates that the conservation will be of the two-storey L-shaped main building facing Serangoon Road. Part of the conserved building (I suppose the corner where the road access now is) will however have to be demolished and reconstructed to allow vehicular access to the rear of the site.

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The corner of the building that would have to be reconstructed.


More photos previously taken of the plant

(see also: https://thelongnwindingroad.wordpress.com/2016/12/11/losing-its-fizz-the-third-milestone-without-the-former-national-aerated-water-plant/):


Update 15 Dec 2017, 11.30 am

URA Press Release (link):
Former National Aerated Water Factory building to be gazetted for conservation

Published Date: 15 Dec 2017

The main building of the former National Aerated Water Factory at 1177 Serangoon Road will be gazetted for conservation by the Urban Redevelopment Authority (URA).

Recognising the building’s heritage value, its role as a landmark in the area and the social memories it holds for the community, the building owner, Selangor Dredging Berhad (SDB) is supportive of the conservation efforts and is working closely with URA to keep the building as part of our national history.

Ms Teh Lip Kim, Managing Director of SDB said, “As the building owner and a responsible community stakeholder, Selangor Dredging Berhad is pleased to support the conservation effort on the former National Aerated Water Factory, a well-known heritage landmark in the Serangoon area. We are glad to partner URA on this conservation journey to retain the building and integrate it as part of the new development. The building will be transformed into a unique and lively commercial area located next to a park connector, adjacent to the Kallang River. We are keen to contribute to sustainable projects where we can, and will put in our best effort to make these projects distinctive.”

Contributing to the heritage of Kallang River

Completed in 1954, this Art Deco Style building is a well-known local landmark along Serangoon Road. It was the bottling factory that produced popular soft drinks such as Sinalco, Kickapoo Joy Juice and Royal Crown Cola.  It is also one of the last few remaining structures along the stretch of Kallang River that reflect the area’s rich industrial past, and contribute to the heritage of the Kallang River.

Mr Lim Eng Hwee, Chief Executive Officer of URA said, “This building is not only historically significant as a familiar landmark along the Kallang River, it also holds fond memories for Singaporeans for the popular soft drinks it produced from 1950s to 1990s. We are heartened that Selangor Dredging Berhad sees the significance of the building and supports its conservation. The conservation of this heritage-rich building would not have been possible without the support from the owner and recognition of the building’s significance from the community.”

Conserved features of the building

The two-storey L-shaped main building facing Serangoon Road will be conserved. This includes the signage tower, a representative feature that many will be familiar with.  Other significant features are the balcony with fair faced brick parapets, the Art Deco timber transom panels and the concrete sun shading ledge that spirals out of a circular window.

Retaining heritage while meeting Singapore’s development needs in land-scarce Singapore requires a delicate balance. The conserved building will be integrated into a new residential development, allowing the story of the building to be brought to life through adaptive re-use. The conserved building will be kept fenceless along the main road and the river, giving the public a chance to get up close and personal with this heritage gem from Singapore’s past.

To facilitate adaptive re-use of the conserved building and allow vehicular access to the rear of the site, reconstruction of a corner of the building and the internal floors will be required. URA will work closely with the building owner to guide the reconstruction when the residential development is completed.

As part of its efforts to celebrate Singapore’s built heritage, URA works with owners of developments, stakeholders and the larger community to tell stories of days gone by involving our built heritage, such as for this National Aerated Water Factory building. Members of the public who wish to be our partners in promoting the heritage of this building or share their memories of this building can write to us at URA_Cons_Portal@ura.gov.sg.






Dakota at the crossroads

12 12 2017

It is good to hear that some of Old Kallang Airport Estate, Dakota Crescent as it is now commonly referred to, is being retained. The estate is the last of those built by the Singapore Improvement Trust (SIT) in the 1950s in which the first attempts were made to introduce high-rise public housing. The preservation of a section of six blocks, four of which are arranged around a courtyard that with its playground, is also being retained, follows on calls made for the estate’s preservation in part or in whole by Save Dakota Crescent group and members of the public to which the Member of Parliament for the area Mr Lim Biow Chuan has lent his voice.

Dakota at the crossroads.

Built at the end of the 1950s, a chunk of the original estate has already been lost to redevelopment. What remains features four block typologies arranged mainly around two spacious courtyards with a Khor Ean Ghee designed playground that was introduced in the 1970s. The blocks were designed to contain a mix of units intended for residential, commercial and artisanal use – a feature of the SIT estates of the era.

Window from the past out to one that is more recent – Singapore’s last dove (playground).

It would have been nice to see a more complete estate being kept as an example of the pre-HDB efforts at public housing. Developmental pressures have however meant that only the central cluster, in which all four block typologies are represented, could be kept with the remaining site given to public housing. The blocks being retained will be repurposed for uses such as student housing or  for suitable social and community uses and will be integrated with the future public housing development.

Three-storey and seven-storey blocks.


More:


More Photographs:

A vacant unit.

The kitchen.

An empty hall.

Some of the units feature built-in storage.

A neighbourhood cat.

The kitchen of an upper floor unit.

The upper floor verandah of the two-storey block.

Another vacant unit.

A final dance with the Dove.

The dove from above.

The provision shop, before it became a hipster cafe.

The last song bird.

Ventilation openings.





Saving Haw Par Villa from (certain) Death

16 11 2017

The unique, quirky and once immensely popular Singaporean attraction, Haw Par Villa, is probably best remembered for the journey it offers its visitors into hell. Its representation of the path to rebirth imagined by the Chinese in its Ten Courts of Hell is gory and uninhibited. With a full suite of the gruesome range of punishments that is thought to be meted out for earthly misdeeds, the experience is certainly one that is not easily forgotten.

Haw Par Villa in its heyday. It drew visitors from all walks of life and of all races. It was especially popular as a destination for an outing during Chinese New Year.

Hell aside, Haw Par Villa is a garden of many delights, which quite sadly seems to have well been forgotten in an age in which attention has shifted to air-conditioned malls and modern attractions. The crowds that Haw Par Villa once drew has reduced to a trickle; a trickle in which inquisitive tourists, and migrant workers who lack welcoming spaces in which to spend to their days off, far outnumber the locals.

The garden attracts hardly a crowd these days.

Haw Par Villa seems to have embarked on its own journey to damnation. Death, it appears, will soon arrive at hell’s doorstep. A museum, a showcase of rituals associated with death in various cultures, now threatens to swallow hell up. Visitors, for the price of a ticket, can come face to face with death and even have the experience of being put in a coffin. The Ten Courts of Hell, it seems, will become a part of that paid death experience.

Death comes to Haw Par Villa.

I had a peek at an exhibition put up of what is to be expected, sans the coffin that was promised. On the basis of what has been put up, it is hard to see how death could aid Haw Par Villa’s cause. Death, as we know, is quite a taboo subject in this part of the world. It is bad enough that Haw Par is already remembered more for its garish version of hell, an added association with death, serves not just to distract from its value and purpose, but may further erode the already negative image many have of Haw Par Villa.

Wielding justice without his hand, Qinguang the god of the underworld at the first court of hell.

Developed by Mr Aw Boon Haw and spread over the sprawling grounds of a magnificent seven-domed villa by the sea he had built in 1937 for his younger brother Boon Par, it was not Mr Aw’s intention to have hell or for that matter, death, celebrated in the garden. Mr Aw had the grounds decorated with figurines and tableaux with scenes from Chinese folklore and the Chinese classics. Displays also contained messages related to traditional values and moral standards and had Buddhist or Taoist themes. Even if it was a private garden, this was done with the public in mind as Mr Aw had planned to have the garden opened to the public to whom the illustrations could provide moral guidance. Mr Aw made a huge effort to ensure the illustrations were accurate in their depiction, personally supervising artisans involved. This also required Mr Aw to retell the stories associated with the scenes being created to his artisans.

The villa’s swimming pool and changing room, 1941 (source: Private George Aspinall via Australian War Memorial, public domain, copyright expired).

The changing room of the swimming pool c.1950 (Harrison Forman Collection).

The changing room displaced.

There have been several deviations from Mr Aw’s original garden. Boon Par had passed on in 1944 in Rangoon and with the house damaged, Mr Aw had it demolished in the early 1950s. With his initial plan to replace the villa with a “grand palace”, modelled along the lines of the Beijing’s Imperial Palace, as well as a subsequent proposal for a 200 feet high pagoda, rejected by local authorities, Mr Aw set out instead to expand the range of tableaux. It was also in the 1950s, that a purge against “yellow culture”, resulted in the modification and dressing up of several nude figurines.

The gardens, which was opened to the public, was popular with both locals and visitors alike. Here, Australian nurses are seen visiting it in September 1941 (source: Australian War Memorial, public domain, copyright expired).

Australian nurses visiting Haw Par Villa (with the villa seen in the background) in September 1941 (source: Australian War Memorial, public domain, copyright expired).

Boon Par’s son Cheng Chye introduced several displays that broke with the garden’s theme and its Chinese flavour after his uncle’s death in 1954. An avid traveller, Cheng Chye put up International Corners to mark his overseas trips, which contributed to the garden’s quirkiness, even if it altered its character. Judging from the numerous photographs found online, the figurines Cheng Chye introduced, were popular spots to have photographs taken at.

Yours truly mimicking the tiki at the New Zealand (International) corner in 1976. The tiki was removed during the remaking of the gardens into a theme park in the late 1980s.

The biggest change came to the garden in the late 1980s. Haw Par Villa, which had lost its lustre by this time, had come into the hands of the Singapore Tourist Promotion Board, STPB (the current day Singapore Tourism Board, STB). At a cost of some S$80 million, a partnership formed by F&N and Times Publishing, turned the garden into the Haw Par Villa Dragon World. The theme park featured a water ride into a Ten Courts Of Hell that was swallowed by a dragon. The conversion resulted in several of the garden’s displays removed, including several of the International Corners. Haw Par Villa Dragon World, which opened in 1990, ran at a loss for most of its operational period and closed 11 years later in 2001.

The dragon that swallowed hell up – during its theme park days.

It would seem that Haw Par Villa has not recovered since, even the attempt to revive interest with a relaunch of it in 2014 as part of STB’s Tourism50 initiative. That promised much, but very little seems to have been delivered thus far. A contract, that if my memory serves me right was worth something to the order of $7 million, was awarded to a local operator in August 2015 for the running of the park and its rejuvenation. This, based  on a 15 October 2015 op-ed by Melody Zaccheus in the Straits Times, should have included the opening of five dining outlets and the transformation of the park into a place for art exhibitions, performances, flea markets, and yoga, taiji and wushu sessions. More than two years into this, little except that is for sketchy mentions of intent and promises for an application for UNESCO Heritage listing to be submitted, seems to have been done.

A view of the “Signature Pond” c.1950 (Harrison Forman Collection).

Drowning in sorrow – thin crowds and a now submerged Signature Pond .

Describing the garden as a “unique Chinese cultural resource”, “the only one of its kind left in the world”, the writer opined that urgent attention was needed with regards to its conservation. Little also seems to have moved in this respect since then. A heritage survey would have been conducted based on what was also mentioned. It would be interesting to see what, if anything, that could tell us about the park’s potential for conservation.

A display that has since been censored. A depiction of the Spider Spirits who attempted to impede the progress of the Monk Xuanzang in the story Journey to the West by trying to entice him through their transformation into beautiful maidens (source: G. Bertschinger on Flickr, Creative Commons License CC BY-SA 2.0).

The spider spirits were modified to appear less provocative and clothed in response to a movement against “yellow culture” in the 1950s.

The urgency to have Haw Par Villa conserved is certainly there with the development of the Greater Southern Waterfront looming over the horizon. That may not be due for some time yet, but this being Singapore, the planning effort for that would surely be carried out well in advance. Haw Par Villa, if it isn’t already in it, has to be part of that plan.

A Datuk Kong, who has quite clearly been resettled.

The park’s value from a heritage perspective, is not just in the lessons in Chinese values and culture it offers, but also for it as a showcase of a well forgotten side Chinese culture. Brought in by our less refined Chinese immigrant forefathers, it serves to remind us as well as tie us to a less refined side of a culture than isn’t necessary the same as the Chinese culture that is pervasive today. The garden is also a monument to the legacy of Mr Aw Boon Haw, who besides putting Singapore on the map with Tiger Balm, made significant contributions to society and was well regarded as a philanthropist. The park, built at a time when the municipality lacked public recreational spaces, is a reminder of this.

An ad for UTA French Airlines in 1965 suggesting a stopover in Singapore for its attractions, one of which was the “fantastic presentation of Chinese mythology at Haw Par Villa”.

The challenge in preserving Haw Par Villa for our future generations is in the revival and the subsequent maintenance of interest and relevance. In a letter written to the press on 31 Oct 2017, Mr Toh Cheng Seong expressed concern on the Death Museum and at the same time, provided several useful ideas. Rather than going on their own, STB and its operator will do well to seek input from the likes of Mr Toh, members of the wider community – young and old alike, and subject experts. For the attraction’s dying ambers to be rekindled, it has to be in the hearts and minds of all of us in Singapore. Any attempt to move ahead with none of us in mind will surely see the last of the 20,000 lights that Haw Par Villa once had a reputation for, extinguished.








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