A Heritage Institution of MEDIA RELEASE For Immediate Release SPOTLIGHTING SINGAPORE’S COLONIAL HISTORY WITH A WALK DOWN PHOTOGRAPHY LANE Panorama photograph of Stamford Road featuring Eastern Studio on the far right (early 20th century) As both brothers had large and growing families, Lee King Yan moved out of Lee Brothers Studio and went on to set up Eastern Studios in 1922. In this panorama photograph taken from the bridge above Stamford Canal, Eastern Studios can be seen on the far right. Collection of Mr. Loo Say Chong Singapore, 30 October 2019 – More commonly associated with museums and cultural arts groups today, Stamford Road and its surrounding precinct (stretching from Hill Street to South Bridge Road and Chinatown) was actually a vibrant hub of photography studios in the 1890s. It was the go-to place for families and individuals from all walks of life who wanted to have their photographs taken. 2 Having edged out their European predecessors, Chinese photography studios grew steadily in strength. The portraiture photographs captured offered a glimpse into the way of life in Singapore, as people commemorated special occasions, such as retirement and weddings, by taking studio portraits. A selection of these photographs and the stories behind them will be spotlighted at the Sun Yat Sen Nanyang Memorial Hall (SYSNMH)’s latest special exhibition, From Brush to Lens: Early Chinese Photography Studios in Singapore, which runs from 2 November 2019 till 3 May 2020. 3 Building on the narrative of the Singapore Bicentennial, the exhibition showcases close to 90 photographic artefacts and photographs of the sights and people in Singapore 1 A Heritage Institution of from the late 19th to early 20th century. It casts a spotlight on the role of early Chinese photography studios and their contribution in documenting Singapore’s colonial history. 4 After the First Opium War (1839 to 1842) and the opening of treaty ports in China, Chinese portrait painters in Guangzhou, China learned the Western art of photography from the Europeans. They travelled to Singapore to seek better lives, after its establishment as an entrepôt 200 years ago. When they arrived here, many went on to set up photography studios. In tracing the growth of these photography studios, and through examining the photographs captured, visitors will be provided with a clear illustration of an evolving, modern and cosmopolitan Singapore, and gain an understanding of Singapore’s early beginnings as a migrant society. Capturing Singapore’s development and way of life 5 Photographs mirrored the ongoing developments in Singapore then, and provide a lens through which we can better understand our history. Look closely within each photograph and uncover the subtle converge of people, cultures, ideas and aspirations. For instance, pocket watches, suit jackets, and high knee socks began to make their way into the same frame as traditional outfits – reflecting how people adapted Western influences into their own cultures. Studio portrait of a Chinese lady with young children (c.1920s) Lee Brothers Studio In contrast with their mother, the children in this studio portrait are dressed in western-style outfits. The baby in the mother’s arms is dressed in what appears to be a christening gown while the young boy is dressed in a shirt with rounded collar and shorts, complete with knee socks and leather shoes. The intergenerational and cultural differences in the dressing between the mother and her children reflected the community’s gradual acceptance of modernity and westernisation. In general, women were slower in 2 A Heritage Institution of adopting western dress as they were regarded as guardians of cultural traditions. Lee Brothers Studio Collection, courtesy of National Archives of Singapore Studio portrait of two young men (c.1910s) Lee Brothers Studio This studio portrait features two young men of different races dressed in similar white tops with matching pocket watches. The similarity in attire suggests that these two men were close friends, and possibly schoolmates. By the early 20th century, many pragmatic businessmen sent their children to mission schools as proficiency in the English language would further their business interests in colonial Singapore. Lee Brothers Studio Collection, courtesy of National Archives of Singapore Studio portrait of two South Indian gentlemen (early 20th century) Lou Fong & Co. This pair of Tamil merchants are dressed in veshti (a traditional male garment worn in the Indian sub- continent) paired with jackets. During the early 20th century, traders wearing their ethnic headgear or traditional attire under jackets were a common sight in Singapore. This fusion of attire arose from the need to appear business-like in a Western manner while still retaining their ethnic identity. Collection of Mr. Loo Say Chong 3 A Heritage Institution of Vignettes of the community 6 The portraits are a visual testament to the rich cultural diversity in Singapore in its early days. Aside from the Chinese, many members of other community groups such as the Chetti, Tamils, Japanese and Europeans – people from all walks of life – made their way to have their photographs taken at these Chinese photography studios, which were typically located within the Chinese enclaves. Through these portraits, visitors will be able to uncover the histories of the communities, and their stories. Studio portrait of a Nattukottai Chettiar Patriarch (early 20th century) Tien Seng The Nattukottai Chettiars are a subset of the Tamil community who arrived in Singapore from around the 1820s. The Chettiars were traditionally traders in precious stones but later became involved in private financing and money lending activities. Gift of Mr. M Meyyappan, reproduced with permission of Indian Heritage Centre 4 A Heritage Institution of Studio portrait of a Japanese lady (1913) Lee Brothers Studio During the late 19th and early 20th centuries, the majority of Japanese women in Singapore were karayuki-san, which literally means “girls going to China” or “girls going overseas”. This term specifically refers to Japanese women from poverty-stricken rural provinces who worked as prostitutes overseas. By 1905, there were more than 90 Japanese-owned brothels in the area around Bugis Street. These Japanese brothels decreased sharply in numbers in 1921 after they were considered a national shame and banned by the Japanese Consulate-General in Singapore. Lee Brothers Studio Collection, courtesy of National Archives of Singapore 7 The Chinese photographers also illuminated the nuances and dynamics of the colonial period. From a study of the landscape of the photograph, to the intent of the portrait – whether for a postcard or personal use, the exhibition pieces together an understanding of how the different communities engaged and interacted with one another. Portrait of rickshaw puller with his European passenger (1905) J. Fujisaki Japanese Photographer This posed photograph of Newman and the Chinese rickshaw puller captures the power dynamics in colonial Singapore between the European masters and immigrant workers. The lush tropical backdrop and the native mode of transportation further reinforced the exoticism of colonies. Collection of National Museum of Singapore 5 A Heritage Institution of Group photograph of school girls in Singapore (1910s - 1920s) Lee Brothers Studio Mission schools in Singapore commonly accepted students of all races. This photograph features a group of school girls from different races with their European or American teachers. The majority of the girls appear to be Peranakan Chinese. Gift of Mr. and Mrs. Lee Kip Lee, collection of The Peranakan Museum Group photograph of students from Madrasah Alsagoff Al-Arabiah (early 20th century) Unknown studio Founded in 1912 by Syed Mohamed bin Ahmed Alsagoff, Madrasah Alsagoff Al-Arabiah (or Alsagoff Arab School) was established to cater to the needs of the growing Arab population in Singapore. The madrasah also accepted all Muslims regardless of race and nationality. Before World War II, the madrasah only accepted boys and the students were taught Islamic knowledge and Arabic as well as reading and writing in English and Malay. As the enrolment of male students declined after the war, the madrasah was converted into an all-girls school in 1966. Collection of Mr. Loo Say Chong 8 Ms Angela Ye, Assistant Director of SYSNMH, said: “Photographs provide an important lens into history, and are an enduring medium that have withstood the test of time. People used to put together photo albums to document important memories. Today, in the era of social media, photographs are more important than ever before. In commemoration of Singapore’s Bicentennial, we wanted to create a visually compelling exhibition to tell the 6 A Heritage Institution of stories of our forefathers. Through a showcase of portraits of various communities taken by the early Chinese photographers, we hope it provides visitors with a glimpse into life back then, and spotlights our cultural diversity as far back as 200 years ago.” 9 Visitors to the exhibition can embark on a three-part journey to understand the origins of portraiture and studio photography in China; the advent of photography in Singapore; and the historical significance of these photographs during the colonial period. A list of exhibition highlights can be found in Annex A. Wan Qing CultureFest 2019 – Celebrating our intangible Chinese cultural heritage 10 In conjunction with the launch of the exhibition, SYSNMH will be holding its annual Wan Qing CultureFest 2019 across two weekends from 2 to 10 November 2019. Featuring an exciting line-up of more than 30 cultural activities, the Wan Qing CultureFest will showcase four important aspects of our intangible cultural heritage – Social Practices, Food Heritage, Performing Arts, and Oral Traditions and Expressions. Experience a Chinese wedding; find out how you can improve your chances at finding love through fengshui; dress- up and be part of a Cantonese opera troupe; or relax to an evening of traditional Hakka folk music and comedy shows.