Perhaps because it was a day the skies opened, the Jalan Besar Stadium wasn’t as packed as it might have been for the Malaysian Super League match between the LionsXII and Terengganu. Despite the roar-less atmosphere at the stadium – the LionsXII managed to overcome a half-time deficit to beat Terangganu 2-1 with Safuwan Baharudin and Syafiq Zainal scoring for the LionsXII in the 65th and 74th minutes respectively.

LionsXII launch an attack through skipper Shahril Ishak in the first half.

Terengganu players celebrate after Jean-Emmanuel Effa scores with a header from a free-kick in the 33rd minute.

A section of the crowd.

Safuwan Baharudin scoring the equaliser in the 65th minute.

LionsXII players celebrate Safuwan Baharudin’s equaliser.

A LionsXII wall jumps in response to a Terengganu free-kick.

Players celebrate the second goal in the 74th minute scored by Syafiq Zainal.

The crowd celebrates the winner.

One current exhibition that is certainly well worth a visit to is one that is devoted entirely to building bricks most of us would have been familiar with from our childhoods. ‘The Art of The Brick’ at the ArtScience Museum which opened on 17 November 2012 and will run until 14 April 2013, takes visitors into the world of 39 year old Nathan Sawaya, whose life-long obsession with Lego building bricks has seen him abandon his job as an attorney to devote himself to the ‘art of the brick’.

Trapped, one of the brick pieces that offers a look into the world of Nathan Sawaya at the ArtScience Museum. Trapped is inspired by the artist’s feelings of being trapped. Speaking of being trapped – Sawaya’s world is one I certainly wouldn’t mind being trapped in.

I was provided with the opportunity to visit the exhibition recently by good people of the ArtScience Museum. The visit provided me not only with the opportunity to see the artist’s work, but also step into the artist’s own world seen through some of his work which includes both representative brick sculptures as well as one which explore surrealist themes in what is some of the more fascinating pieces. Sawaya’s obsession with what is indeed a very popular and timeless toy we were told began at the age of five. Not being able to get that pet dog he had wanted, Sawaya did the next best thing – he dismantled his Lego city brick set and built a dog with it which he named Boxer.

The entrance to the exhibition. The exhitbition runs until 14 April 2013.

Sawaya decided to turn what had in his working years become a means to blow off steam. It was when he realised that his sharing of his hobby on his website brickartist.com was receiving quite a fair bit of attention that he decided to dedicate his life to being a ‘brick artist’ first joining Lego before setting up his own art gallery in New York City.

A giant FaceMask.

The 52 large-scale brick pieces at the exhibition are displayed across eight galleries. In the first gallery, we are introduced to the artist himself, with several pieces through which Sawaya reveals some of his personal take on himself. The gallery includes several ‘iconic’ pieces including ‘Yellow’ and ‘Swimmer’. My personal favourite among the works in the gallery is Yellow which depicts a human torso tearing its chest open. Thousands of toy bricks can be seen to spill out from the gap. The work represents the artist’s personal metamorphosis and transitions and is said to capture his emotional journey in which the artist opened himself up to the world.

Yellow – which represents Sawaya’s personal metamorphosis and transitions, and captures his emotional journey.

Another piece in the Introduction Gallery – ‘Hands’ which depicts a dream Sawaya had in which he loses his hands.

The seven other galleries are no less interesting. The next one we come to is the Catwalk Gallery where works are displayed on a runway like platform. Works here that caught my eye were Circle, Triangle, Square and Everlasting. Another interesting gallery is the Portrait Gallery, where there are some familiar faces in 2D – all made again from Lego bricks which I thought was rather amazing. Among the portraits are those of Jimi Hendrix, Bob Dylan, and Janis Joplin. What is interesting to learn about is the approach that the artist takes when creating a 2D portrait is that he starts off with the eyes – after which he says everything falls into place. The choice of colour is also important we are told. Sawaya, despite his talent in creating 2D likenesses of famous personalities with Lego bricks, we are also told, does not like to take on commercial commissions for 2D portraits for fear that he may offend clients should the work not come out right.

Circle, Trangle, Square in the Catwalk Gallery.

Everlasting.

Close-up of a portrait of Janis Joplin.

Close-up of a portrait of Bob Dylan.

And one of Jimi Hendrix.

Our very able guide Dina, speaking on Courtney Yellow – a portrait of Sawaya’s then girlfriend (and now wife) Courtney Simmons.

Another gallery which I did take my time to look at was The Emotion Box which has pieces all of which seemed to have a deeper meaning in them. Stepping into the gallery one encounters works that are mesmerisingly fascinating such as Mask, Ascension, Grasp and Trapped. There certainly are deeper meanings that one will discover in the works. Ascension depicts the artists desire to ascend to a higher place without experiencing death, whereas, Grasp refers to the many people telling the artist ‘no’ – people he would like to rid his life of.

Mask.

Ascension.

Grasp.

One work that will certainly impress is a six metre long one – a T-Rex skeleton at the Art of Play. The last gallery is where you will find a brick sculpture of a familiar sight – that of the ArtScience Museum itself. The piece was specially commissioned by the ArtScience Museum and was created without the artist having actually visited the museum, and purely from 2D images.

The six metre long T-Rex skeleton.

One of the ArtScience Museum.

Peace.

The exhibition also has several areas which allow visitor interaction, including light and sound displays, a photobooth, a Play and Build area and an area where visitors can attempt to recreate Sawaya’s rain. The exhibtion is open from 10 am to 10 pm daily (last entry is at 9 pm). More information on the exhibition and ticket prices can be found at the ArtScience Museum’s website.

Writer in The Drawing Board gallery.

Interacting with light.

Photobooth.

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)

(In Colour)

Photographs from previous years’ Thaipusam observations:

Thaipusam (2012)
Thaipusam (2011)
Thaipusam (2010)

A similar festival celebrated in the Tamil month of Panguni in the Sembawang area:

Panguni Uthiram (2012)
Panguni Uthiram (2011)

It was around the time of Sunday’s sunrise under the red lightening sky that a long train snaked its way out of Tanjong Pagar Railway Station, a little more than a year and a half after the last train left the station. Sunday’s train wasn’t one that was pulled along by a locomotive of course – most of the railway tracks along the rail corridor have since been removed, but a human train of runners pulled along by a Kenyan who led from start to finish in what is the inaugural Green Corridor Run which is thought to have attracted as many as 6,000 runners. The race took runners along the rail corridor on a 10.5 km route from Tanjong Pagar to the former Bukit Railway Station – a distance which the trains would cover in about fifteen minutes. The race winner, Samson Tenai, 32, need just a little more than double that – he covered the distance in a time of 34 minutes 11 seconds.

7.09 am : Colours of sunrise.

7.14 am : A plane is seen over the container cranes against the sunrise coloured sky.

The entire rail corridor which stretches some 26 km from Tanjong Pagar to Woodlands has been the subject of much interest since the agreement to handover the land on which the Malaysian Government owned railway, Keretapi Tanah Melayu (KTM), operated a railway line, was announced in May 2010.

7.20 am : The first runners are seen already building up a lead over the chasing pack. Seen in the lead is Kenyan Samson Tenai, the eventual winner of the race who completed the 10.5 km course in about 34 minutes.

Relatively untouched by urban development for some 79 years of the rail’s operation through much of it, the corridor features large tracts of greenery. Interest groups and individuals have called for the preservation of the corridor for its heritage and potential for community use such as a running course, and as a unbroken bicycle path that takes one from the north of the island to an area close to the city with possible links to the park connector network. The Minister for National Development, Mr Khaw Boon Wan, announced plans to preserve the rail corridor in July 2011. Since then, a Rail Corridor Partnership has been formed with stakeholders from both Government Agencies, interest groups and members of the public involved. Plans are currently being formulated for future use of the rail corridor.

7.20 am : The rush of runners. Some 6000 runners are thought to have participated in the run.

7.22 am : The chasing pack makes it way past the former signal hut at Tanjong Pagar.

More information on the former Railway and the Rail Corridor:

• Journeys through Tanjong Pagar (a collection of posts on journeys made through the rail corridor)
• Support The Green Corridor (a collection of posts related to the call to preserve the corridor’s greenery)

A place I am glad is there – at least for now, in which I find an escape from the unbearably overcrowded world Singapore has become, is a quiet and somewhat forgotten corner of northern Singapore where the former Kampong Wak Hassan once was. It has become for me not just a world where I run off to for that rare moment of calm, but also where I am able to take in the joy and the surprise that the break of day brings in the changing hues at sunrise …

6.53 am 28 January 2013.

6.59 am 29 January 2013.

This morning’s sunrise taken at 6.57 am and 7.22 am:

Sunday begun in a pretty hectic way for me. I had what seemed like a full day by the time I welcomed the sunrise. I had woken up at 3.30 in the morning – so that I could make my way down to the Sri Srinivasa Perumal Temple for Thaipusam, an annual ritual observed by Hindus of Southern Indian origin. A spiritual journey which begins well before the day itself, it culminates in an extreme act of faith involving the bearing of a burden or a kavadi on its final leg – and one which I try not to miss. I spent a good hour and a half at the temple, crowded not just with devotees and their families and friends, but also with hundreds of curious observers and photographers, before making my way across town to the Kampong Bahru flyover, not so much for the spectacular sunrise that was always going to be a treat, but more in an attempt to capture the column of 6000 runners on the inaugural Green Corridor Run making their way down the former railway yard. Having done all that, I decided to take the rest of the morning slow and easy – before making my way down to Art Stage 2013 – an annual event which is the largest international art fair here for a calm and slow afternoon – something I was certainly thankful for.

Art Stage 2013 which brought in over 130 galleries, the majority of which are from the Asia-Pacific, was, reading the post-event news, a huge success – it attracted  some 40 500 visitors over 5 days, and provided a platform for many emerging artists, especially from Singapore and South-East Asia to be introduced into the art world. Joining in a guided tour for bloggers’ of the fair kindly arranged by URA Marina Bay’s place management team, I was also able to get to see and (pretend to) understand the works of some of these emerging artists a little better, artists such as Zulkifli Yusoff from Malaysia whose work Rukunegara was certainly an eye-catching one which provides the artist’s take on the nation-building process.

Rukunegara 2 by Malaysian artist Zulkifli Yusoff.

Another eye-catching piece is an intriguing installation by Geraldine Javier entitled “Red Fights Back”. Javier who is from the Philippines retells a popular fairy tale Little Red Riding Hood through a set of images and a tree, set against a backdrop of dried leaves. Also from the Philippines, is a large mural – that of street artist Vermont Coronel Jr., entitled “High Way” which is his interpretation of the urban landscape he is most familiar with – that of Metro Manila’s major thoroughfare, EDSA (Epifanio de los Santos Avenue), a landscape that is also representative of many other urban spaces. The work involves the artist painstakingly creating stencils which is overlaid and sprayed over.

A visitor takes a close look at Geraldine Javier’s “Red fights back”.

The final scene in “Red fights back”.

“High Way” by Vermont Coronel Jr.

Vermont Coronel Jr.’s work involves the use of stencils which he painstakingly creates.

The tour also introduced us to the work of two Thai artists, that of Anusorn Charoensuk and Maitree Siriboon, both of whom we had a chance to meet. Anusorn Charoensuk’s “World Tour” is interesting in that it involves photographs taken over a period of five years against the backdrop of paintings of popular tourist destinations – in which the subjects – members of his family, express the same joy one would expect in posing in with the actual places that are depicted. It is also interesting that in the last of the photographs that we see the image of an angel, to represent the artist’s father who had passed on when the photograph was taken. Anusorn Charoensuk’s also had an interactive installation at the fair. It was one in which he invites visitors to have a photograph taken against a backdrop of how he saw Orchard Road (without having actually seen the well-known street). Painted on a zinc sheet, the backdrop shows a building what he is able to identify with the street – that of the tower of Tang Plaza.

Anusorn Charoensuk’s “World Tour” taken over a period of five years.

An interactive part of Anusorn Charoensuk’s installation which he invites visitors to have a photo taken against the backdrop – this one of Orchard Road (which he painted without having actually seen the well-known street).

Moving on to compatriot Maitree Siriboon’s installation, open sacks of rice immediately catches the eye. The installation “Rice is Art” involves 450 kg of rice – given by rice farmers in his home village in the rice-growing Issan region of Thailand. The gift, Maitree says, represents a sacrifice made by the community which is dependent on rice harvests for a living in support of his work. The installation also involves a collection of photographs which shows the support of the rice-growing community for the creation of the installation.

Maitree Siriboon and his sacks of rice.

Photographs showing the support of the community for Siriboon’s efforts.

One Singapore artist whose work we were introduced to was that of Ang Sookoon. The series of works at the fair were ones that looks at items in a domestic space. “ The Waves/Waifs” is one that involves brooms made of blond hair and wood – a reference perhaps to the domesticated nature of women in society. Another piece, “Your Love is Like a Chunk of Gold”, sees crystal being grown on another familiar item in a domestic setting, bread. The piece which I most enjoyed, “Weighs Like Mine”, involved a chest of four drawers. The chest is one which encourages the view to interact with it, and in the drawers one will discover what again are familiar scenes in domestic settings.

Ang Sookoon’s “Your Love is Like a Chunk of Gold”.

Ang Sookoon’s “The Wave/Waifs”.

Ang Sookoon’s “Weighs Like Mine”.

Following the Southeast Asian Art Tour, I also took the opportunity to take a leisurely look around what is the third edition of Singapore’s largest international arts fair with a focus on fostering Southeast Asia artists and galleries, photographing some of what did catch my eye, not just the installations by themselves – but how visitors and gallery staff viewed and interacted with the works on display some of which follows:

Filed under: Art, Contemporary, Events, Marina Bay Sands, New Singapore, Singapore

It is in a world we have forgotten, that I have come to enjoy a peaceful moment in. It is a world which in being seemingly far removed from the cold, grey and unfamiliar world that has grown around me; I take great joy having a moment in quiet solitude in. It is also one in which I find a sanity that can no longer be found in the Singapore I struggle to feel at home in. The world is one which will soon change. A change necessary, as we are told, for the small island we call home to move forward. A change which, as with the many changes we have been forced to accept, we will surely look back at with regret.

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.

Chingay brings together members of the various communities in Singapore in an annual street celebration.

The opening scene sees the lighting of pots of fire.

The spectacular closing sees “snow” falling on the parade.

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 largest Chinese Classical Dance in the show’s history sees 450 young dancers from both Singapore and China peform.

A close up of the Chinese Classical Dance segment.

Tai-chi swordmasters.

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.

Members of the Queenstown CC Cantonese Opera troupe pose for a photograph before the rehearsal.

Student performers dressed in Chinese Opera costumes practicing before the parade.

The youngest participant who is 4.

Ms Elaine Tjon a member of the PAssion Zumba Community sharing her experience at the media conference.

Student participants at the media conference.

Mr Nah Juay Hng, Chairman of the Chingay Parade Exco speaking.

Members of the Japanese community.

Float carrying more participants from Singapore’s Japanese Community.

The NE Show audience – schoolchildren expanded a lot of energy during the parade.

More photographs from Saturday’s rehearsal:

Sharing a scene seen along our northern shoreline one that may soon be changed in a way many of us don’t want it to be.

The Chingay Parade in Singapore as we know it today had its beginnings in the wake of the total ban on firecrackers which once were a must-have at any Chinese New Year celebration. That was back in 1973 – the parade was a relatively simple one which had been put together by the People’s Association and the Singapore National Pugilistic Federation, and saw a procession of lion dancers, giant flag bearers, dragon dancers, stilt walkers, clowns and juggling acts down a 3 kilometre route that took them from the old Victoria School to the end point at Outram Park. Being very much a celebration connected with the Chinese New Year, it was a very Chinese-centric passing some of the streets of Chinatown along the way. A resounding success in its first year, the decision was made to make it an annual affair and the four decades of Chingay, saw it first move into the housing estates starting with Toa Payoh in its second year, before it was moved to Orchard Road in 1985. In that time, the parade also took on first a multi-cultural flavour and then an international flavour – moving from being a street parade not just for Singaporeans but also for visitors to the island.

The carnival -like street parade Chingay is today. A less than traditional looking stilt-walker seen during the rehearsal for Chingay 2013.

More traditional stilt-walkers from a Chingay Parade in the 1980s seen along Orchard Road.

The origins of Chingay are not actually in the carnival-like street parade that we are treated to today. Chingay in its original form is very much what has been described as a Hokkien Chinese tradition, once held usually in conjunction with religious festivals with a usual parade of deities, and it is in this form that it is still very much celebrated across the causeway in Johor Bahru on the 21st day of the Chinese New Year. The parades were known to be held in Singapore as far back as in the 1880s, with participation not just by the Hokkiens, but also by the main dialect groups that made up the immigrant Chinese population.

The annual event has over the years taken on a multi-cultural and more international appearance.

The Japanese community in Singapore has been well represented over the years.

A Straits Times report of 1 February 1902 describes the parade as “being accompanied by all the usual banners, flags, toms toms, bands, magnificently and grotesquely made out individuals, and figures”. The report further describes the parade: “barbaric splendour was manifested to extravagance and thousands of spectators flocked to all points to witness it. Numbers of pretty Chinese girls brilliantly and richly dressed sat on perches ten feet high, surrounded by flowers, and borne on the shoulders of bearers”.

The early parades would typically feature traditional performers such as flag bearers.

Chingay in 1985 seen passing Peranakan Place along Orchard Road.

Parades in their original form were ones which perhaps were an expression of identity and on which no expense was spared, were discontinued after December 1906, when at a meeting of the Hokkien clan it was decided that the raising of public funds should properly be devoted to the promotion of children’s education instead rather than in the extravagance of a street procession.

The colourful celebration that is today’s Chingay.

Chingay these days has perhaps come a full circle – at least in the sense of the extravagance. Each parade is now one to look forward to as a spectacle – planning we are told for the parades start as early as some fifteen months before each one is held. No longer a what can be seen as a spontaneous celebration on the streets, the preparations for Chingay these days involve a massive effort, not just from the organisers but also from the performers with many rehearsals required to perfect what has essentially become a staged performance which of late has included effects which bring out the spectacular – much like how National Day Parades are now staged. In that – the Chingay parades are now ones as with National Day Parades which should not be missed. Unlike National Day Parades for which tickets are often hard to come by, tickets for Chingay are available for purchase – these, I am given to understand are selling fast. Tickets may be purchased from SISTIC (see website). More information on ticketing and on the parade can be found at the Chingay 2013 website. For photographs of a preview of Chingay 2013 – please visit my previous post on Chingay 2013.

Stilt-walkers resting along the Orchard Road route in 1985.

Some highlights of Chingay 2013:

• Grandest Cultural Opening – 文天祥之“正气歌” Song of Righteousness by renowned Wen Tian Xiang, Song Dynasty (Cultural collaboration between artistes from Singapore and Fuzhou), with Chingay Taichi Sword Showcase
• World’s Biggest Peach Blossoms, “桃夭” Performance
• First-Ever Combined Chinese Opera Performance of Lady Generals of The Yang “杨门女将” jointly presented by Teochew, Hokkien and Cantonese Opera Groups in Singapore
• Programme will involve at least 5,000 students and Singaporeans to write calligraphy based on the poem “Song of Righteousness” 五言诗：正气歌

It was in the final days of the Malayan Railway’s operations through Singapore just over a year and a half ago that the former Bukit Timah Railway Station drew crowds it that had not previously seen before. The station, built in 1932 as part of the Railway Deviation which took the railway towards a new terminal close to the docks at Tanjong Pagar, was one that was long forgotten. Once where prized racehorses bound for the nearby Turf Club were offloaded, the station’s role had over time diminished. Its sole purpose had in the years leading up to its final moments been reduced to that of a point at which authority for the tracks north of the station to Woodlands and south of it to Tanjong Pagar was exchanged through a key token system. The practice was an archaic signalling practice that had been made necessary by the single track system on which the outbound and inbound trains shared. It had in its final days been the last point along the Malayan Railway at which the practice was still in use and added to the impression one always had of time leaving the station and its surroundings behind. It was for that sense of the old world, a world which if not for the railway might not have existed any more,  for which it had, in its calmer days, been a place where one could find an escape from the concrete world which in recent years was never far away. It was a world in which the sanity which often eludes the citizens of the concrete world could be rediscovered. It is a world, despite the green mesh fencing now reminding us of its place in the concrete world, which still offers that escape, albeit one which will no longer come with those little reminders of a time we otherwise might have long forgotten.

Scenes from the station’s gentler days

Singapore has, in close to half a century of its existence as an independent nation, seen a dramatic transformation not just as a nation but in the development of the city. There is nowhere, perhaps, where the change is as striking as it is in the new city that has risen from the sea – the Marina City Centre, built on land reclaimed on what had once been the old harbour. The new world is also perhaps where some of the more dramatic sunrises over the city can be observed, particularly against the silhouettes of what has certainly become one of the most photographed places in Singapore, the very iconic Marina Bay Sands complex.

Sunrise over the new world 7.29 am 8 February 2013.

I was looking through some of my old (and rather badly taken) photographs of Chingay when I stumbled upon a sign which brought to mind events of the 1980s. The decade was a time when the world around us was very much in transition and a time when the French decided on an invasion of Singapore. The invasion was one not involving any form of military force, but by forces of an entirely different nature – those of two of their well established retail giants, Galeries Lafayette and Printemps – department stores which are landmarks on one of Paris’ famous shopping streets, Boulevard Haussmann (it was a photograph with the Printemps sign that brought this to mind).

The Printemps Store along on the ground level of Hotel Le Meridien at Orchard Road.

The entrance of the two stores into the local retail market came at the start of a decade in which Singapore was too see massive changes. Much of the resident population of the city centre had been or was to be moved out, and once bustling districts of shophouses which coloured much of the urban landscape was over the period, reduced to rubble. The 1980s also saw Orchard Road establishing itself as Singapore’s main shopping street and the economic success of Singapore – one of the four “Tigers” of the Asian economies, provided for the rising affluence among Singaporeans and with that a greater awareness of fashion trends. This influenced shopping habits and preferences and many overseas based retailers saw an opportunity to gain a foothold into the Singapore market, with two Japanese based retailers having by then already established themselves. Isetan came in 1972 and Yaohan in 1974.

It was Galeries Lafayette which lead the French charge, opening a 5574 square metre store in out-of-town Goldhill Square (since renamed United Square) in December 1982. Printemps followed soon after, taking up 4000 square metres of space on Orchard Road on the ground floor of the newly constructed Hotel Le Méridien (now Concorde Hotel) in September 1983. It was Printemps which perhaps had the greater impact – projecting an image not so much of Parisian chic but one of being hip, colourful and affordable – it was Printemps which introduced the colourful canvas espadrilles which for a while seemed to catch on with Singaporean shoppers (trendy as they might have been, they unfortunately were not the most ideal form of footwear for the local climate). Printemps colourful and cheap polo-tees were also rather a hit with the young.

Despite the apparent popularity of some of what the stores had to offer, both did have great difficulty in making inroads and were making losses. Galeries (as it was referred to by Singaporeans) closed its Goldhill Square store in May 1986. The news of that did not come as a shock as it had been plagued by rumours of its closing for several months before that even as it had expressed interest in taking up a space either at Crown Prince Hotel or the space previously occupied by Mohan’s at Orchard Shopping Centre. It was perhaps a poor decision made to open their store at a location far from the main retail scene in Singapore. The closure did turn out to be a temporary move. Some ten months after closing the Goldhill Square store, Galeries opened a 4460 square metre store at Liat Towers on Orchard Road and not long after that, a smaller 400 square metre outlet at Raffles Place. In spite of the problems the two stores faced in what was perhaps becoming a saturated retail market, the two did last a little longer. Printemps operated ntil December 1989 when it shut its doors. Galeries after its second coming lasted a little longer – it was in March 1996 when they did finally close again.

Galeries Lafayette’s second coming which was at Liat Towers, seen here in the 1990s, in March 1987 (source: http:// a2o.nas.sg/picas/).

A photograph taken at 7.14 am of this morning’s sunrise at Kampong Wak Hassan, the last of the year of the dragon, using the Canon 5D MkIII camera’s HDR mode, the results of which did surprise me.

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 Guangdong Arts Troupe during the Countdown Ceremony on Saturday.

The Float coming to life for River Hongbao 2013.

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.

The lanterns will add light and colour to The Float over the nine days.

The 18 metre tall God of Wealth.

The zodiac lantern featuring the snake.

A floating lantern.

A lantern featuring giant pandas.

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.

Minister for Prime Minister’s Office Mr Lim Swee Say joining the countdown celebrations.

The fireworks display at the countdown.

One of the few places in present day Singapore that I am able to find myself at home in is the Sembawang area along the northern coast. It is an area which has in the last two and a half decades, as with much (if not all) of Singapore, undergone a huge transformation and also one that is still being transformed. Despite the transformation – Sembawang now plays host to a new public housing estate, it is still a place in which a Singapore we have forgotten about can still be found – at least for the time being.

An intermediate egret in flight over the canalised Sembawang River – the Sembawang area was one known in the past to be rich in bird life.

Sembawang is one of the last places left in which much of the past remains to be discovered. A past which perhaps with the planned future developments in the area, some for which preparations are already being made, is one which may soon be well forgotten. Best remembered for hosting a huge British naval base which was completed in 1938, Sembawang Shipyard which inherited the former Naval Dockyard in 1968 serves to remind us of that, as does the former Stores Basin, now used as a naval logistics base. It is however in several of the smaller reminders in which the past charms of the area can found in. These include the cluster of colonial bungalows (“black and white houses”) and in what is today Sembawang Park. Sembawang Park and perhaps the coastline east of it is where some of the old world does seem to have been left behind including what may be one of the last stretches of natural beaches in Singapore, the old jetty (sometimes referred to as the “Beaulieu”, prounounced “bew-lee” jetty, or “Mata” jetty), Beaulieu House, and a seawall which once belonged to Kampong Wak Hassan.

Sunrise along the northern coast – an undeveloped part of the beach east of Sembawang Park, and an area which despite the kampongs being cleared from it, retains much of a charm which is missing from the overly manicured and cluttered urban spaces in Singapore.

Besides traces that is associated with the former naval base, reminders do also exist of the area’s lesser known natural past. The area (as had much of the coastline around it) played host to a swamp. Much had already been cleared when the naval base was built with the course of two rivers around which the marshy ground formed altered. There were, however, remnants of the marshland that remained around an area of what is today the Sembawang River up to the 1980s when it was drained for the development of Sembawang New Town. This lay about a kilometre west of what was then Chong Pang Village, just north of the Ulu Sembawang area (an area of farms and freshwater ponds around where Gambas Avenue is today). It was known then to have been a fertile feeding ground for marsh birds, attracting herons, egrets, sandpipers and storks to it. While the swamps have all since vanished – HDB blocks of flats have risen where the wetlands had once thrived, the is today a canalised Sembawang/Senoko River which on the evidence of what we do see today, does see a return of some of the previously rich bird life. Besides the marsh birds, the area today also sees many other birds. These include common birds such as the yellow-vented bulbul, black naped oriole, pied fantail, ashy tailorbird, green pigeon, starling, Asian koel, several types of kingfisher, munia and sunbird. There have also been some less common sightings in the area including the Sunda woodpecker, brown hawk owl, milky stork, and what is perhaps an escapee, a white-rumped shama.

A yellow-vented bulbul in a Simpoh Air bush along the banks of the river.

A white-throated kingfisher in flight over the canalised river.

Sembawang is toady, a world in which the charm of a forgotten old world missing from most of the redeveloped spaces on the island, can still be found. It is a world which has thus far, managed to remain free from the crowds and clutter which now seems to dominate almost all of the urban world we now find around us. The area is one which had for a long while boasted of welcome pockets of greenery and un-manicured beauty. But all that I fear, is soon going to change. Sembawang Park for one is already in the midst of a “renewal” which I feel will see it lose the character and charm which attracted me there since the days of my childhood as it becomes just another well manicured park cluttered with paraphernalia which Singapore really has too many of.

A place where the sun would shine on an uncluttered space …

As I look around me, I also see huge tracts of land which were once held much beauty behind hoardings and in the midst of being cleared. That I understand is part of the effort to provide new homes. What that also means is that the crowds the area has hitherto been spared from would soon descend on it, attracted not just by the homes, but the inevitable as it now seems – a huge redevelopment effort which has been outlined in the recently released Land Use Plan intended to supplement the somewhat controversial Population White Paper. That speaks of ”new waterfront land along the Sembawang Coastline being freed up once existing shipyard facilities are phased out” with the aim “of providing land for new business activities”. With that it will not just be the character and charm of the area that will be lost, but what it does also mean is that it will see the breaking of what may be the last links it has with its past.

… and a space where once there were trees.

Inevitable as it may seem, that future  is one that I hope, perhaps for selfish reasons, is one that will never come. Development which has broken many of our links to our past as well as the more recent wave of immigration has without a doubt provided great economic benefit to us living in Singapore. For many of us however, it has also come at a huge cost, a cost which has also seen us lose the soul of who we are as a people. The country is today, one where I find it a struggle to feel at home in. Much of what once was familiar and a source of joy and comfort is no longer with us, creating in us that sense of longing for what has been lost, as well as a sense of loss … a feeling which perhaps can best be described by the Welsh word Hiraeth or  the Portuguese word Saudade. 

Now perhaps the final frontier?

One of the positive things that did come out of the land use plan is that it makes mention of some of the more immediate future developments to provide public housing at Bidadari, Tengah and Tampines North. What that does mean is that for the time being at least, the large parcel of land reserved for the future Simpang New Town, an area by the northern coast part of which was once a land of idyllic coastal villages and prawn farming ponds will be left undeveloped. What that also means is that while the area will certainly become more crowded over time, it will for a while, be spared from an even bigger   one, remaining as a final frontier where not just the birds, but also free spirits such as myself can still find space to roam free.

Tucked away in a somewhat obscure area of Serangoon Gardens is a delightful little café that as its name, Sun Ray Café, suggests, brings sun rays over the area. Describing itself as a joyful and offbeat spot, the cafe is probably better known to pet owners – it being one of the few pet friendly eateries found in the area of Singapore.  I guess, not being a pet owner, I might be forgiven for not being aware of the cafe, and it was only through an invitation for a food tasting session that I got to know of its existence.

Yu Sheng that is served not with raw fish, but with smoked salmon and tossed with a fork.

That it is an offbeat place is probably also seen in some of the food creations made specially for the occasion of the Lunar New Year and Valentine’s Day. One of the first things we got  to do was toss the what has come to be a tradition for the Lunar New Year in Singapore and Malaysia, Yu Sheng or Raw Fish Salad. That is perhaps as traditional as it does get, not only is the “Raw Fish” Salad topped not by raw fish as its name might suggest, but by a generous helping of smoked salmon, but it also is  tossed with a fork. Topped off with croutons, and served with plum sauce, the salad’s ingredients and the salmon topping is shaped into a short cylinder in a mould – taking on a rather quirky and non-conventional appearance. The Sun Ray Café Yu Sheng Platter, named Rising Joy is rather a rather delightful twist to the traditional dish, comes in two sizes – a small portion ideal for 2 diners is priced at $10.80 and the large portion for 4 diners costs $16.80 and will be available until 24 February. Being a pet friendly, the café also serves a pet version of the dish with boiled salmon, a portion of which costs $6.80.

A peek into the pet friendly café.

The main part of the food tasting was to introduce the café’s Valentine’s Day menu (for which this post probably comes a little too late for). Available on 13 and 14 February, the menu comes with a choice of three entrées. The menu is also served with a Smoked Salmon Salad served with a wonderful walnut sauce dressing; a Cuppa’ Mushroom Soup inspired by how cappuccino is served these days which I thought was just right – light and not overladen with cream; a choice of Home Made Tiramisu or Chocolate Lava Cake; and a choice of drinks – a Signature Mocktail Mellini or a glass of House Wine. The entrées can be selected from a Australian Seared Steak (marinated in red wine and rosemary and served with Lyonnais potatoes); Crusted Salmon (sesame crusted salmon with sweet taro mash – I am told it is naturally sweet taro); or the Honey Glazed Spring Chicken (grilled and served with oven-roasted potatoes). I though the salmon turned out the best – full of flavour complemented by the sesame crust. The steak was also tender and juicy and rich in flavour. The chicken however did taste a little too sweet and wasn’t to my liking. The menus are priced at $45 for the steak, $35 for the salmon and  $30 for the chicken.

The smoked salmon salad with a walnut sauce dressing.

Cuppa’ Mushroom Soup.

The Valentine’s Day menu offers a choice of entrées. The Australian Seared Steak menu costs $45.

The crusted salmon served with sweet taro mash.

Honey Glazed Spring Chicken.

The very refreshing Signature Mellini Mocktail.

Besides the food – the café’s owner is also big on coffee. A trained barista, he hopes to also turn the café into one that serves specialty coffees and is considering roasting his own beans. Tthe café was kind enough to have a little coffee appreciation session during which Columbia Geisha beans (which we were told cost $300 a kg!) were used and the practice of coffee cupping was  introduced – after which I will not look at a cup of kopi-o in the same way again.

Brewing the Geisha beans.

A cupping spoon.

Located at 79 Brighton Crescent, more information on the pet friendly café can be found at its Facebook page. And do note that, as a special treat, the café is extending a $10 return voucher – all you would need to do to claim the voucher is to say “Happiness will keep us alive!” to the staff serving you.

Filed under: Food, Serangoon Garden, Singapore