Showing posts with label singapore. Show all posts
Showing posts with label singapore. Show all posts

Sunday, April 15, 2012

Curating Nation Talk Series: Guerrilla Archaeologists and the Singapore Story (12 April 2012, NUS Museum)

Curating Nation Talk Series: Guerrilla Archaeologists and the Singapore Story, 12-April-2012, 6.30pm, NUS MUSEUM
From the introductory text:
"Most people think Singapore and archaeology are boring subjects, but the combination of the two can be exciting. Since Singapore has no laws covering archaeology, it is possible and sometimes necessary to go about the exploration for new sites in unorthodox ways. The term "underground" can mean something different in Singapore than it does in normal archaeological contexts! In this talk Prof John Miksic will provide an account of the history of archaeology in Singapore since 1984, and its connection with museums."

Speaker


Prof. John Miksic grew up in western New York State, where he found stone arrowheads made by the Iroquois on his grandfather's farm. In 1967 he participated in his first archaeological expedition, to northern Canada to study Inuit. The next year he joined the Peace Corps and was sent to Malaysia, whereupon he was entranced by the archaeological potential of this region.


Here are some of my notes on this talk by the archaelogist John Miksic, who has been excavating archaeological artifacts in Singapore for longer than I have been alive. The talk was conducted at the NUS Museum with about 100 people who had signed up to attend and there was a great Q&A after it, and a walk-through the Sherd Gallery where there is also a new video installation.



[List of key points]

  • There are usually three reasons for doing archaeology:
    1 - to preserve memory and create identity, saving minds and memories
    2 - to prevent injustices or falsifications of the past (it can be used for political purposes or it may come about in the course of colonialism)
    3 - because of the financial value, and the question of defining its context or value
  • Archaeological sites of interest in Singapore are generally concentrated in the town area, with a clear boundary.
  • It is suggested that Fort Canning "was preserved because we found artifacts" there. It has now been turned into a "Heritage theme park" - we were shown a series of images such as the "Myriad of Activities" signboard which emphasizes the diversity of activities at Fort Canning Hill, and the "Mural of Stone", featuring stories of the Singapore River, carved in Bali in a Borobodur style. There are two main walks on Fort Canning, one being the 19th Century Walk and the other being the 14th Century Walk.
  • "It is not endangered, so we are not going to dig it up." - in the case of Padang and other sites, it was opportunism that allowed them to do archaeological studies, being proactive to ask for permission to do the study. But the government was agreeable to allow the museum to carry out digs before excavation began for construction work. In places like the Old Parliament Building, intact artifacts were also found below the floor board.
  • There was sand under the padding, all the way to Kampong Glam. This pure white sand corroborates with Sri Tri Buana's encounter with the pure white sandy beach, which Indra Bopal answered, was the land called Temasik.
  • It is often said that the origins of Singapore's history starts in 1819. In an ST interview with the writers of a encyclopedic book about Singapore called the "Singapore Epic", the writers or editors were commented that they did not want to cover events before 1819 because it would allegedly confuse people and dilute the discussion on Singapore's History. But the real question should actually be: is it identity if it doesn't sell? What tourists want is shallow, simplified content, it is not necessary to think so hard or go so deep into things. But doesn't identity exist for the sake of the ones who have that identity, and not for the benefit or consumption of others?
  • The example of Singapore's influence - Singapore, Michigan: There was once a city in the US called Singapore, Michigan. It was called Singapore because Singapore's reputation had travelled far and wide, although this city was eventually subsumed into Chicago and no longer exists. The essence of Singapore which that town in US wanted to embody by taking on the name of Singapore was: let's become rich by trading!
  • The reputation of the island has also travelled across the seas in the stories of the oft-overlooked Wang Dayuan. The 14th century Chinese traveller wrote of the settlement of Dan Ma Xi from the Malay word Temasik (in 1330) and wrote of both Malay and Chinese residents on the island. Some were said to have been sailors suffering from Malaria who had been left behind on the islands because they were too sick to travel - in the end they ended up living on the island for longer stretches of time and had small settlements similar to the sites of Indonesia sites at Padang Lawas and Kota Cina. (Wang Dayuan's account also talks of the Dragon's Tooth or Long Ya Men (which incidentally has since been reconstructed in fiberglass as an attraction).
  • These and other early records suggest that the current site of Singapore was actually the first place in Southeast asia where Chinese people had resided.
  • Singapore's "history" must be seen within the greater context of time - archaeology provides tangible proof that the "history" or Story of Singapore begins way before 1819.

Friday, March 25, 2011

I will send you to a better place - Zai Kuning (The Substation Gallery, 25 Mar 2010)

I will send you to a better place flyer
onisstudio: Since 2006, Zai Kuning has been speaking passionately about the lost of the Substation Garden, which has been disconnected from the arts centre itself ever since Timbre Group opened its first food and beverage outlet. The arts community's response towards the lost of the iconic tree, the changing landscape around The Substation, and the community it used to gather varies from nostalgia, ambivalent pragmatism to resentment.

i will send you to a better place - zai kuning
Commissioned for a work for the Singapore Biennale (SB) 2011, Zai proposed to close Timbre and return the garden to the arts community for the period of the Biennale. However, the proposal failed to materialise. Bearing in mind Kuo Pao Kun's words " great failure is more worthwhile than mediocre success', Zai conceived this exhibition and monologue as a response to the failed project, focusing on his personal experience and thoughts about the Garden, the Substation, and his conversation with Matthew Ngui (director of SB 2011).

I want my garden back because I miss the tree
Its 4pm now but the garden is lock and the tree is as
lonely as me

I want my garden back because I miss the tree
And now they have turn the garden to be so ugly
Im feeling sad and angry for the garden and how we use
to play freely


- Zai Kuning's open letter to the artscommunity, 2006





Zai Kuning's Recorded Monologue (partial recording)



Zai Kuning's Speech (25 March 2011)



Zai, thank you for giving this speech. I hope you do not mind but I have recorded it almost in full because I think this is one thing particularly worth documenting and more people should be able to hear this. The situation with Timbre and the Substation Garden is something that is close to my heart as well, as it also can be said that I "found myself" at Substation.

One day during my secondary school days I was leaving the now demolished National Library when I heard the strains of music coming from someplace nearby. I followed the sound and I found a bunch of local bands playing at the back of the Fat Frog Cafe of Substation... and in the years following that chance encounter, I always seemed to go back to the Substation.

The first gig I organised was also at the Substation; my first foray into design work was also working with Moving Images (I was trained only as a writer, but this first stab at doing visual work has more or led to me working professionally as a designer now, many years later). My first solo exhibition was also held at The Substation last year under the auspices of their visual arts open call - I am ever grateful for the opportunity and their support of my work. I would not have had the space or resources to produce my work about the Singapore River if not for the Substation.

Space is always important here because there is so little of it. While I am not homeless, I work on my own independently and this takes me to many different offices and different places in a single day, and this sometimes feels like I'm some sort of refugee. I am often moving through town carrying all sorts of ridiculous amounts of equipment and books (and constantly picking up more and more). Sometimes in the lull between meetings and the going-ons, I try to look for a harbour at which to shelter at for a while. But over the years, these "meeting spots" have gotten fewer and fewer, with the loss of things like winfood and four face buddha. These days I don't know where to go. Sometimes even when nothing is happening at the Substation I actually end up walking there and sitting there alone on whatever bench or chair that has been left outside.

Which I always think is a great pity. Sometimes even in the short moments of rest, great things can happen. Practically all of my closest friends today are the product of random encounters, walking around places. How would these connections have been made without the spaces in the city where people meet? I wish for more spaces in which people can sit and meet and create things without being pressured to buy something, or to consume something. A neutral space, like you said.

What can we do to get back the garden?



A passage i like from Constant's "Another City for Another Life":

"The crisis in urbanism is worsening. The layout of neighborhoods, old and new, conflicts with established patterns of behavior and even more with the new ways of life that we are seeking. The result is a dismal and sterile ambience in our surroundings.

In the older neighborhoods, the streets have degenerated into freeways and leisure activities are being commercialized and corrupted by tourism. Social relations become impossible. The newly built neighborhoods have only two all-pervasive themes: automobile traffic and household comfort — an impoverished expression of bourgeois contentment, lacking any sense of play.

To meet the need to rapidly construct entire cities, cemeteries of reinforced concrete are being built in which masses of the population are condemned to die of boredom. What is the point of all the extraordinary technical inventions the world now has at its disposal if the conditions are lacking to derive any benefit from them, if they contribute nothing to leisure, if imagination is absent?"



See also:
Mayo Martin: We RAT on Zai Kuning and his invisible Biennale work!
The Substation