Nanyang 2016
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List of Entries
List of Entries 1. Aik Htun 3 34. Chan Wai Chang, Rose 82 2. Aing Khun 5 35. Chao Tzee Cheng 83 3. Alim, Markus 7 36. Charoen Siriwatthanaphakdi 4. Amphon Bulaphakdi 9 85 5. Ang Kiukok 11 37. Châu Traàn Taïo 87 6. Ang Peng Siong 14 38. Châu Vaên Xöông 90 7. Ang, Samuel Dee 16 39. Cheah Fook Ling, Jeffrey 92 8. Ang-See, Teresita 18 40. Chee Soon Juan 95 9. Aquino, Corazon Cojuangco 21 41. Chee Swee Lee 97 10. Aung Twin 24 42. Chen Chong Swee 99 11. Aw Boon Haw 26 43. Chen, David 101 12. Bai Yao 28 44. Chen, Georgette 103 13. Bangayan, Teofilo Tan 30 45. Chen Huiming 105 14. Banharn Silpa-archa 33 46. Chen Lieh Fu 107 15. Benedicto, Francisco 35 47. Chen Su Lan 109 16. Botan 38 48. Chen Wen Hsi 111 17. Budianta, Melani 40 49. Cheng Ching Chuan, Johnny 18. Budiman, Arief 43 113 19. Bunchu Rotchanasathian 45 50. Cheng Heng Jem, William 116 20. Cabangon Chua, Antonio 49 51. Cheong Soo Pieng 119 21. Cao Hoàng Laõnh 51 52. Chia Boon Leong 121 22. Cao Trieàu Phát 54 53. Chiam See Tong 123 23. Cham Tao Soon 57 54. Chiang See Ngoh, Claire 126 24. Chamlong Srimuang 59 55. Chien Ho 128 25. Chan Ah Kow 62 56. Chiew Chee Phoong 130 26. Chan, Carlos 64 57. Chin Fung Kee 132 27. Chan Choy Siong 67 58. Chin Peng 135 28. Chan Heng Chee 69 59. Chin Poy Wu, Henry 138 29. Chan, Jose Mari 71 60. -
Download Singapore Portraits Educators Guide For
Singapore Portraits Let The Photos Tell The Story Singapore Portraits is a tribute to some of Singapore’s most creative personalities. It features the works of and interviews with local artists which together tell the story of Singapore through their words and images. Besides the paintings and photographs, write-ups detailing the background of the artwork, social and historical contexts and artist biographies are also included. < for Primary School Students> Educators’ Guide Education and Community Outreach Division SG Portraits About The Exhibition Generations of Singapore artists and photographers have expressed themselves through art, telling stories of our nation, our history, people and their ways of lives. This exhibition looks at how Singapore has inspired art-making and what stories art tells about Singapore. Art in Singapore Drawn by the prospect of work in the region’s new European settlements, artists began to arrive here as early as the late 18th century. By the early 20th century, immigrant artists were forming art societies and the first school in Singapore, the Nanyang Academy of Fine Arts, was established in 1938. Among the most significant artists from the pioneering generation were Cheong Soo Pieng, Chen Chong Swee, Liu Kang, Chen Wen His, Georgette Chen and Lim Cheng Hoe. They were instrumental in establishing the Nanyang Style, the first local art style that emerged in the 1950s. Their work influenced younger generations of artists who followed in their footsteps to explore fresh ways of expressing local identity and local relevancy through their art. Take some time to share with students the importance of appreciating Art and the Arts that can help in their overall development. -
Brother Joseph Mcnally P
1 Design Education in Asia 2000- 2010 Exploring the impact of institutional ‘twinning’ on graphic design education in Singapore Simon Richards Z3437992 2 3 Although Singapore recently celebrated 50 years of graphic design, relatively little documentation exists about the history of graphic design in the island state. This research explores Singaporean design education institutes that adopted ‘twinning’ strategies with international design schools over the last 20 years and compares them with institutions that have retained a more individual and local profile. Seeking to explore this little-studied field, the research contributes to an emergent conversation about Singapore’s design history and how it has influenced the current state of the design industry in Singapore. The research documents and describes the growth resulting from a decade of investment in the creative fields in Singapore. It also establishes a pattern articulated via interviews and applied research involving local designers and design educators who were invited to take part in the research. The content of the interviews demonstrates strong views that reflect the growing importance of creativity and design in the local society. In considering the deliberate practice of Singaporean graphic design schools adopting twinning strategies with western universities, the research posits questions about whether Singapore is now able to confirm that such relationships have been beneficial as viable long-term strategies for the future of the local design industry. If so, the ramifications may have a significant impact not only in Singapore but also in major new education markets throughout Asia, such as the well-supported creative sectors within China and India. -
The Artistic Adventure of Two Bali Trips, 1952 and 2001
Wang Ruobing The Quest for a Regional Culture: The Artistic Adventure of Two Bali Trips, 1952 and 2001 Left to right: Liu Kang, Cheong Soo Pieng, Luo Ming, Ni Pollok, Adrien-Jean La Mayeur, Chen Chong Swee, Chen Wen Hsi, 1952. Courtesy of Liu Kang Family. iu Kang (1911–2004), Chen Wen Hsi (1906–1991), Cheong Soo Pieng (1917–83), and Chen Chong Swee (1910–1986) are four Limportant early artists of Singapore. They were born in China and emigrated to what was then called Malaya before the founding of the People’s Republic of China.1 In 1952, these four members of the Chinese diaspora went to Bali for a painting trip. Struck by the vibrant scenery and exoticism of Balinese culture, on their return they produced from their sketches a significant amount of artwork that portrayed the primitive and pastoral Bali in a modernist style, and a group exhibition entitled Pictures from Bali was held a year later at the British Council on Stamford Road in Singapore. This visit has been regarded as a watershed event in Singapore’s art history,2 signifying the birth of the Nanyang style through their processing of Balinese characteristics into a unique “local colour”—an aesthetic referring to a localized culture and identity within the Southeast Asian context. Their Bali experience had great significance, not only for their subsequent artistic development, both as individuals and as a group, but also for the stylistic development of Singaporean artists who succeeded them.3 Vol. 12 No. 5 77 Exhibition of Pictures from Bali, British Council, Singapore, 1953. -
Penang Travel Tale
Penang Travel Tale The northern gateway to Malaysia, Penang’s the oldest British settlement in the country. Also known as Pulau Pinang, the state capital, Georgetown, is a UNESCO listed World Heritage Site with a collection of over 12,000 surviving pre-war shop houses. Its best known as a giant beach resort with soft, sandy beaches and plenty of upscale hotels but locals will tell you that the island is the country’s unofficial food capital. SIM CARDS AND DIALING PREFIXES Malaysia’s three main cell phone service providers are Celcom, Digi and WEATHER Maxis. You can obtain prepaid SIM cards almost anywhere – especially Penang enjoys a warm equatorial climate. Average temperatures range inside large-scale shopping malls. Digi and Maxis are the most popular between 29°C - 35 during the day and 26°C - 29°C during the night; services, although Celcom has the most widespread coverage in Sabah however, being an island, temperatures here are often higher than the and Sarawak. Each state has its own area code; to make a call to a mainland and sometimes reaches as high as 35°C during the day. It’s best landline in Penang, dial 04 followed by the seven-digit number. Calls to not to forget your sun block – the higher the SPF, the better. It’s mostly mobile phones require a three-digit prefix, (Digi = 016, Maxis = 012 and sunny throughout the day except during the monsoon seasons when the Celcom = 019) followed by the seven digit subscriber number. island experiences rainfall in the evenings. http://www.penang.ws /penang-info/clim ate.htm CURRENCY GETTING AROUND Malaysia coinage is known as the Ringgit Malaysia (MYR). -
1 Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I Have Been
Chapter 1 Introduction As a Chinese Buddhist in Malaysia, I have been unconsciously entangled in a historical process of the making of modern Buddhism. There was a Chinese temple beside my house in Penang, Malaysia. The main deity was likely a deified imperial court officer, though no historical record documented his origin. A mosque serenely resided along the main street approximately 50 meters from my house. At the end of the street was a Hindu temple decorated with colorful statues. Less than five minutes’ walk from my house was a Buddhist association in a two-storey terrace. During my childhood, the Chinese temple was a playground. My friends and I respected the deities worshipped there but sometimes innocently stole sweets and fruits donated by worshippers as offerings. Each year, three major religious events were organized by the temple committee: the end of the first lunar month marked the spring celebration of a deity in the temple; the seventh lunar month was the Hungry Ghost Festival; and the eighth month honored, She Fu Da Ren, the temple deity’s birthday. The temple was busy throughout the year. Neighbors gathered there to chat about national politics and local gossip. The traditional Chinese temple was thus deeply rooted in the community. In terms of religious intimacy with different nearby temples, the Chinese temple ranked first, followed by the Hindu temple and finally, the mosque, which had a psychological distant demarcated by racial boundaries. I accompanied my mother several times to the Hindu temple. Once, I asked her why she prayed to a Hindu deity. -
Borneo Sandakan Tours Sdn. Bhd
Borneo Sandakan Tours Sdn. Bhd. (982930K) KPL/LN 6775 Office Address: Block HS/11, Lot 105, 2nd Floor, Sandakan Harbour Square Postal Address: PO Box 143, 90701 Sandakan, Sabah, Malaysia. T: +60 89 211 540 F: +60 89 212 540 W: www.borneosandakan.com ‘Sandakan Heritage Trails’ Tour Code: SDK 2 Approximate Duration: 3 – 4 Hours Meet & greet from Sandakan Hotel. You shall visits: . Masjid Jamek: This mosque was first opened by the Muslim cloth merchant from India, known as Damsah in 1890. The mosque was originally located in the restaurant Habeeb III facing Wisma Sandakan. During World War II-2 Masjid Jamek was once the hiding place of the Muslim population. Japanese military also believes the British hides here and shoot the mosque. William Pryer Monument: A granite structure erected to honour the founder of Sandakan, William B. Pryer. 100 Steps: Climbing the Stairs with a Hundred Steps will lead you to a beautiful view of Sandakan town and bay. It also brings you to the Agnes Keith House. Agnes Keith House: where a famous writer of the “Land Below the Wind” and “White Man Returns”, today the house turned into a heritage house providing interesting insight to life during British North Borneo. Old Stairs: The remains of the foundation/stairs of what believed to be the Consulate building of the pre-war Chinese Government. Goddess of Mercy Temple: a small and inconspicuous temple built in the late 1880s . St. Michael and All Angels’ Church: Rev. Henry Elton was perhaps best known for the construction of St Michael’s Church which lasted from 1893 to 1906. -
Annual Report
ANNUAL REPORT FY2017/2018 主席献词 01 Chairman’s Message 03 总裁献词 目 CEO’s Message 05 赞助人和董事会 愿景 录 Patron & Board of Directors 多元种族 .和谐社会 09 董事委员会 华族文化 .本土丰彩 CONTENTS Board Committees 11 年度活动 VISION Highlights of the Year A vibrant Singapore Chinese culture, 47 我们的设施 rooted in a cohesive, multi-racial society Our Facilities 捐款人 55 Our Donors 宗旨 57 我们的团队 发展本土华族文化,承先启后; Our Team 开 展 多 元 文 化 交 流 ,促 进 社 会 和 谐 财务摘要 59 Financial Highlights MISSION 机构信息 Nurture Singapore Chinese culture 61 Corporate Information and enhance social harmony 01 02 2017/2018年对我们来说是个具有重要 为 了 注 入 更 多 活 力 予 本 地 华 族 文 化 ,中 We look back on a most memorable year in 2017/2018, the Duanwu Festival, Mid-Autumn under the Stars for the Mid- 主席献词 意义的一年。2017年5月19日 ,新 加 坡 心 开 幕 后 推 出 的《 新 •创 艺 》特 展 ,汇 集 key highlight being the official opening of the Singapore Autumn Festival; and held the Spring Reception, as well as 华族文化中心在万众期待中由李显龙 了19名本地艺术家共21件作品,并通过 Chinese Cultural Centre (SCCC) on 19 May 2017, graced our first Lunar New Year Carnival & Concert to usher in the CHAIRMAN’S 总理主持开幕。这栋位于珊顿道金融中 这一批年轻艺术家的视角,重新诠释新 by the presence of our Patron, Prime Minister Lee Hsien Year of the Dog. These festive events were well-attended by 心的11层崭新大楼,为本地的文化团体 加坡华族文化的意涵。 Loong. The much-anticipated opening was held with great invited guests and members of the community who enjoyed fanfare. This new 11-storey building located in the heart the performances and special activities. -
Artists Imagine a Nation
ARTISTS IMAGINE A NATION Abdullah Ariff Boo Sze Yang Chen Cheng Mei (aka Tan Seah Boey) Chen Shou Soo Chen Wen Hsi Cheong Soo Pieng Chia Yu Chian Chng Seok Tin Choo Keng Kwang Chuah Thean Teng Chua Mia Tee Foo Chee San Ho Khay Beng Khaw Sia Koeh Sia Yong Kuo Ju Ping Lee Boon Wang Lee Cheng Yong Lim Mu Hue Lim Tze Peng Mohammad Din Mohammad Ng Eng Teng Ong Kim Seng Tumadi Patri Phua Cheng Phue Anthony Poon Seah Kim Joo Tang Da Wu Tay Bak Koi Tay Boon Pin Teo Eng Seng Tong Chin Sye Wee Beng Chong Wong Shih Yaw Yeh Chi Wei Yong Mun Sen Contents Foreword Bala Starr 8 Pictures of people and places Teo Hui Min 13 Catalogue of works 115 Brief artists’ biographies 121 Acknowledgements 135 Foreword Works of art are much more than simple collectables or trophies, in the A work of art maintains its status as a speculative object well past the date same way that history is more than a compilation of triumphal stories or nostalgic the artist considered it ‘finished’ or resolved, and in fact meanings might never reflections. Histories build and change through their own telling. The works in actually fix or settle. What we identify ascontemporary is as much about a process this exhibition, Artists imagine a nation, record individual artists’ perceptions, of looking back and re-evaluating the practices and insights of those who have experiences and thinking, and document their aspirations for their communities travelled before us as it is about constantly seeking the new. -
A Story of Singapore Art
artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style. -
Nanyang Style - Singapore's Pioneer Art Movement
Jul 12, 2011 14:35 +08 Nanyang Style - Singapore's Pioneer Art Movement Singapore was known as Nanyang in the late 18th century. Representing South Seas in Chinese, Nanyang was a goldmine for many Chinese immigrants. Art was denied progression during this period of colonial rule. The first nationwide art class was also implemented reluctantly to comply with British examination standards. So what is the Nanyang style? Who are the main artists? This article will attempt to address these questions. According to the definition from Singapore Art Museum, Nanyang style integrates teachings from Western schools of Paris and Chinese painting traditions, depicting local or Southeast Asian subject matters. Most Nanyangpaintings are either Chinese ink or oil on canvas. There was a great influx of Chinese immigrants and the emergence of Nanyang style was in response to the dichotomy of Chinese nationalism and Southeast Asian regionalism. Colonial rule restricted art development and it was only in the 19th century when the first art society started – The Amateur Drawing Association. While in Kuala Lumpur, United Artists Malaysia emerged. These societies imparted mainly Chinese influences in the Nanyang style. As global economies were recovering from Great Depression, artists of the Nanyang style were benefiting from extra exposure from art trends in Europe and China. The establishment of Society of Chinese Artists in 1935 had members who were not only alumni of Chinese art academies but were also avid fans of western art. The need to craft a unique identity was stronger after World War II, amidst growing anti-colonial sentiments. Founding artists wanted to portray Nanyang culture in a visually unique flavour. -
DESIRE and SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING in PENANG, MALAYSIA a Dissertation Presented to the Faculty of the Gradua
DESIRE AND SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING IN PENANG, MALAYSIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by I-Fan Wu December 2018 © 2018 I-Fan Wu DESIRE AND SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING IN PENANG, MALAYSIA I-Fan Wu, Ph. D. Cornell University 2018 This dissertation is an ethnographic examination of Chinese meditators who, propelled by their suffering, pursue alternative religious healing education to harmonize their conflicts with social others and to answer their existential questions. Using Lacan’s analysis of desire as an analytic with which to understand two religious healing schools—Bodhi Heart Sanctuary in Penang with global lecturers, and Wise Qigong centers in Penang, Hong Kong, and Shenzhen—this dissertation delineates and explains how, in the Chinese diaspora, unconscious desires are expressed through alternative religious healing systems. The doctrines of Bodhi Heart Sanctuary and Wise Qigong follow a similar internal logic: they teach their disciples to submit themselves to a new alterity that resembles Confucianism, requiring self-submission if not asceticism. In so doing, practitioners, misrecognizing the source of their self-making, claim to transcend their suffering by overcoming their desires with the guidance of the new alterity, which represents a new form of ego-ideal. By attaching themselves to the best object—Buddha’s Right View, or hunyuan qi, the “primordial energy”—practitioners believe that they revitalize themselves as they address and work through the existential dilemmas involved in everyday interactions. This dissertation explicates the process through which Chinese forms of “self-help” therapy make sense to people as a manifestation of cross-cultural human existential concerns while these concerns take distinctively Chinese forms.