Culture of Singapore
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As Singapore is a small and relatively modern amalgam of Chinese, Malay, Indian and European immigrants, the culture of Singapore expresses the diversity of the population as the various ethnic groups continue to celebrate their own cultures while they intermingle with one another. For example, one can find a Malay wedding taking place beside a Chinese funeral at a void deck, on the ground floor of a HDB apartment block. This can be said to be due to the policies of the HDB which tried to make sure all public housing have a diverse mix of races. However, Singapore has achieved a significant degree of cultural diffusion with its unique combination of these ethnic groups, and has given Singapore a rich mixture of diversity for its young age.
Singapore has several distinct ethnic neighbourhoods, including Little India, Chinatown and Kampong Glam, formed by the Raffles Plan of Singapore in the early 19th century to segregate the new immigrants into specific areas. Although the population are no longer segregated in distribution, mainly due to the policies of the Housing Development Board and the ruling People's Action Party, these ethnic neighbourhoods retain unique elements of their specific culture. The usage of such neighbourhoods is mostly commercial or for cottage industry specific to the culture of its ethnic neighbourhood, and no longer plays a large part in housing the population, although it was once used for that purpose. Hence, these neighbourhoods have patronage of all races who wish to either eat or buy something specific to that culture.
For example, Little India is known and patronised by all races within the population for its thalis-- South Indian "buffets" that are vegetarian and served on the traditional banana leaves. These neighbourhoods are accessible by public transport, especially by Mass Rapid Transit (MRT).
In other parts of the country, such segregation is discouraged by government policy. The policies of the Housing Development Board are designed to encourage a mix of all races within each housing district. This effect can be observed in all parts of the country; for example a store devoted to selling Malay food might be right next to stores selling Chinese or Indian goods. The aim is to foster social cohesion and national loyalty, which Lee Kuan Yew felt was crucial for sustaining Singapore after independence when he was Prime Minister. There is a weighty emphasis on racial harmony and subsequent case study of historical events, such as the 1964 Race Riots.
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[edit] Festivals
The major public holidays reflect the mentioned racial diversity, including Chinese New Year, Buddhist Vesak Day, Muslim Eid ul-Fitr (known locally by its Malay name Hari Raya Puasa), and Hindu Diwali (known locally by its Tamil name Deepavali). Christians constitute a large minority, and Christmas Day, Good Friday, and New Year's Day are also public holidays.
On August 9, Singapore celebrates the anniversary of its independence with a series of events, including the National Day Parade which is the main ceremony. The National Day Parade, 2005 was held at the Padang in the city centre.
[edit] Religion
Singapore is a multi-religious country, the roots of which can be traced to its strategic location; after its declaration as a port, a wide variety of nationalities and ethnicities from places as far as Arabia immigrated to Singapore. More than 40% of the Singaporeans adhere to Mahayana Buddhism, the main faith of the Chinese population of Singapore. Other Chinese are followers of Taoism, Confucianism, and Christianity, including Catholics. Christians constitute about 14% of the population of Singapore. Most Malays are Muslims, who constitute about 15% of the population, while most Indians are Hindus, constituting 7%. There is also a sizable number of Muslims and Sikhs in the Indian population.
As a result of this diversity, there are a large number of religious buildings including Hindu temples, churches and mosques, some of which have great historical significance. There are also some Sikh temples and Jewish synagogues. These interesting buildings often became prominent architectural landmarks in cosmopolitan Singapore.
A selected list of religious sites in Singapore include
- Hajjah Fatimah Mosque
- Kong Meng San Phor Kark See Temple
- Masjid Jamae
- Sakya Muni Buddha Gaya Temple
- Central Sikh Temple
- Sri Mariamman Temple
- Sultan Mosque
- St. Andrew's Cathedral
- Saint Joseph's Church (former Portuguese Mission)
- Chesed-El Synagogue
In addition, about 14% of Singaporeans do not belong to any religion and consider themselves as "free-thinkers".
[edit] Racial harmony
Racial harmony is an important concept in Singaporean society. Briefly shaken by the racial riots in Singapore's history during the 1960s, it emerged stronger after independence and is seen as a cornerstone of Singapore's culture today.
Religious tolerance has been strongly encouraged since the British colonised Singapore; the Sri Mariamman Temple (a south Indian Hindu temple that was declared a national heritage site in the 1980s), as well as the Masjid Jamae Mosque that served Chulia Muslims from India's Coromandel Coast is situated along South Bridge Road, which is a major, and old road that runs through Chinatown. Among other religious landmarks is the Church of Gregory the Illuminator, that was built in 1836, making it one of the oldest religious buildings in Singapore. It has been preserved to the present day, and Orthodox services continue to be held in it. Although orthodox religions are tolerated, some groups are banned, including Jehovah's Witness, which opposes Singapore's policy of national service.
[edit] Cuisine
Main article: Cuisine of Singapore
Singaporean cuisine is also a prime example of diversity and cultural diffusion in Singapore. In Singapore's hawker centres, for example, traditionally Malay hawker stalls selling halal food may serve halal versions of traditionally Tamil food. Chinese stalls may introduce Malay ingredients, cooking techniques or entire dishes into their range of catering. This continues to make the cuisine of Singapore significantly rich and a cultural attraction.
Favorite local food include:
- Bak kut teh
- Char kway teow
- Hainanese chicken rice
- Hokkien mee
- Ketupat
- Laksa
- Nasi lemak
- Rojak
- Roti prata
- Satay
Singaporeans also enjoy a wide variety of seafood including crabs, clams, squid, and oysters. One favorite dish is the stingray barbecued and served on banana leaf and with sambal (chilli).
[edit] Language
There are four official languages in Singapore: English, Chinese, Malay and Tamil.
In general, English tends to be the 1st language spoken widely in the business, education and government sector of Singapore. But colloquially, the Singaporean also speak a diverse and mixed language that can involve English, Chinese Chinese, Malay and Tamil, depending on the circle one is associated with, the age group, the race and the places in Singapore.
The English used is primarily British English, with some American English influences. The local colloquial dialect of English is known formally as Singapore Colloquial English (though it is more commonly called "Singlish"), and has many creole-like characteristics, having incorporated much vocabulary and grammar from various Chinese dialects, Malay, and Indian languages. Singlish is basically identical to Manglish (the English dialect of Malaysia), and is the usual language on the streets, but is frowned upon in official contexts, and this matter has been brought up in recent years in the Parliament and the ruling party. English used among the population generally became more widespread after the implementation of English as a first language medium in the Singapore education system in 1980.
Mandarin Chinese is the second most commonly-spoken language among the Singaporean Chinese population. It became widespread after the start of Mandarin language campaign during 1980, which aims to make Mandarin the common speech tongue among the Chinese in Singapore. In 1990s, effort was taken to target the English-educated Chinese. Colloquially (on street), the Mandarin in Singapore is spoken in a mixed way similar to Singlish, in which Mandarin is often mixed with other Chinese dialects, English or Malay words. The accent of Mandarin Chinese language spoken in Singapore is largely influenced by Chinese dialects such as Hokkien, Cantonese, Teochew etc and in comparison to the standard Beijing accent, it has no curl-up tone, exhibiting a Chinese accent unique only in Singapore.
[edit] Performing arts
Singapore is emerging as a cultural centre for arts and culture, including theatre and music. As a cosmopolitan and multi-racial society, Singapore is often identified with the "gateway between the East and West". In the past decade, there is an emergence of several performing arts groups in Singapore, especially in theatrical arts. A number of productions were staged successfully and several groups, such as TheatreWorks, have performed in overseas.
Prominent local arts groups include:
- TheatreWorks
- ACT 3 International
- The Necessary Stage
- Singapore Repertory Theatre
- W!LD RICE
- The Theatre Practice
- The ETCeteras
- ECNAD Project
- Singapore Dance Theatre
- Dance Ensemble Singapore
- Singapore Symphony Orchestra
- Singapore Chinese Orchestra
- Orkestra Melayu Singapura
- Singapore Indian Orchestra and Choir
- The Singapore Lyric Opera
Singapore hosts an annual Singapore Arts Festival when international and local artists gather in the country to perform in a wide variety of events including music, dance and theatre. In 2003, the Esplanade - "Theatres on the Bay", a centre for performing arts, was opened. The Esplanade is also known as "The Durian", due to its resemblance to the fruit.
Nanyang Academy of Fine Arts (NAFA) and LASALLE-SIA College of the Arts are the two main arts institutions offering full-time programmes for the performing arts in Singapore.
[edit] Movies
Main article: Cinema of Singapore
The development of film industry in Singapore has a considerably late start and therefore lags significantly behind that of other countries or economies in the region such as Hong Kong. Before 1990s, it was thought that the local market was too small for the industry. However since then, the industry has sprouted with a number of movies made and released successfully. Two important pioneers in local film-making are Eric Khoo and Jack Neo, both of whom produced several popular movies depicting unique cultural and social aspects of the country, especially concerning the lives of Singapore heartlanders. In particular, the movie I Not Stupid struck an emotional chord among many Singaporeans as its story highlighted many of the issues they face in an increasingly competitive society.
On 13 December 2003, 10 year old Megan Zheng became the first Singaporean actress to win the Taipei Film Festival Golden Horse Award for Best New Performer (co-recipient) with her role in Jack Neo's movie Homerun.
Selected list of Singaporean films:
- Mee Pok Man (1995)
- Army Daze (1996)
- I Not Stupid (2002) 小孩不笨
- Homerun (2003) 跑吧,孩子
- I Not Stupid Too (2006) 小孩不笨二
[edit] Notable artists
- Zoe Tay, actress
- A-do, singer
- Lin Jun Jie, singer
- Tan Swie Hian, artist, calligrapher, poet
- Liu Kang, artist
- Siow Lee Chin, violinist
- Lynnette Seah, violinist
- Vanessa Mae, violinist
- Kam Ning, violinist
- Lee Huei Min, violinist
- Melvyn Tan, pianist
- Seow Yit Kin, pianist
- Jeremy Monteiro, jazz pianist
- Lim Chin Huat, choreographer, young artist award recipient
- Tan How Choon, choreographer, dance artist
- Neila Sathyalingam, choreographer
- Elaine Chan, music composer and director
- Liang Wern Fook, writer, musician
- Catherine Lim, writer
- Jack Neo, actor, film-maker
- Eric Khoo, film-maker
- Gurmit Singh (aka Phua Chu Kang), TV actor
- Fann Wong, actress
- Kit Chan or Chen Jieyi, actress, singer
- Stefanie Sun Yan Zi, singer
- Tanya Chua or Cai Jianya, singer
- Michelle Alicia Saram, singer and actress
- Corrinne May, singer and songwriter
- Dick Lee, singer, music composer and playwright
- Jocie Guo, singer
- Huang Yida, singer and music composer
[edit] Recreation and sports
Singaporeans participate in a wide variety of sports and recreational activities. Favorite sports include soccer, swimming, badminton, basketball and table tennis. Most people lived in public residential areas that often provide amenities including swimming pools, outdoor basketball courts as well as indoor sport centres that can be used for badminton, table tennis, volleyball among others.
Living on an island, the people also enjoy many water activities including sailing, kayaking and waterskiing. There is also a number of avid recreational scuba divers and one of their favorite diving spots is a southern island called Pulau Hantu, known for its rich coral reefs.
The main spectacle sport is soccer where there is a semi-professional S.League. Launched in 1996, the league now consists of 10 teams competing with each other in stadiums around the country. In 2004, the Singapore national football team became the two-time winner of the Tiger Cup. The team had previously won the trophy in 1998.
While not a major sporting power, Singapore's sportspersons have performed relatively well in regional as well as international competitions, especially in table tennis, badminton, bowling, sailing, silat, swimming and water polo. Some athletes such as Li Jiawei and Ronald Susilo have become national celebrities.
[edit] Architecture
The tall business buildings of the Central Area comprise the skyline along the coast of the Marina Bay, which is one of Singapore's famous tourist attractions. The statue of the Merlion is situated there. Since the late 1990s, the government has been striving to promote Singapore as a centre for arts and culture, including theatre and music. This positions Singapore to be a cosmopolitan and diverse society, often hailed as the "gateway between the East and West". The highlight of this plan is the Esplanade - Theatres on the Bay, a centre for performing arts that opened in 2003, built at an estimated cost of S$1 billion, is noted for its exterior which resembles a durian to some people.
Another distinct feature of architecture in Singapore is the incorporation of water elements such as fountains and water features, examples of which can be found at Bugis Junction and Suntec City.
[edit] Popular culture
In the recent years, blogging has become an integral part of Singaporean cyber culture. Notable examples of local blogs include Mr Brown, Xia Xue, Mr Miyagi, Cowboy Caleb and Sarong Party Girl. Tomorrow.sg is a local metablog, which highlists interesting posts from local bloggers. The first Singapore Blogger's Convention dubbed Bloggers.SG was held in 2005.
Singapore is also home to Zouk, one of Asia's most famous nightclubs.
[edit] Cultural policy
- Further information: Censorship in Singapore
Singapore maintains tight restrictions on arts and cultural performances. Most artistic works have to be vetted by the government in advance, and topics that breach so-called out of bounds markers (OB markers) are not permitted. While the OB markers are not publicly defined, they are generally assumed to include sensitive topics such as race, religion, and allegations of corruption or nepotism in government. Nudity and other forms of loosely-defined "obscenity" are also banned. Singaporean film director Royston Tan has produced movies which challenge these policies, including a movie called Cut in reference to censorship of the arts. [1]
The country's first pre-tertiary arts school, The Arts School, is currently being built at Kirk Terrace. Expected to commence in 2008, the school aims to provide an environment for nurturing young artists aged between 13 and 18 years old. [2]
[edit] Culture
Singapore is a small and relatively modern amalgam of an indigenous Malay population with a third generation Chinese majority, as well as Indian and Arab immigrants with some intermarriages. There also exist Eurasian and Peranakan (known also as 'Straits Chinese') communities. Singapore has also achieved a significant degree of cultural diffusion with its unique combination of these ethnic groups, and this has given Singapore a rich mixture of diversity for its young age. One of the prime examples is in Singaporean cuisine, often a cultural attraction for tourists.
The English used is primarily British English, with some American English influences. The local colloquial dialect of English is Singlish, which has many creole-like characteristics, having incorporated vocabulary and grammar from various Chinese dialects, Malay, and Indian languages. Singlish is spoken commonly on the streets, but the government frowns upon its use in official contexts. English became widespread in Singapore after it was implemented as a first language medium in the education system, and English is the most common language in Singaporean literature.
Singapore has several ethnic neighbourhoods, including Little India and Chinatown. These were formed under the Raffles Plan to originally segregate the immigrants, but now have a diverse patronage whose main intentions are to either eat or buy something specific to that culture. Many places of worship were also constructed during the colonial era, a practice encouraged by the British to promote religious tolerance. Sri Mariamman Temple, the Masjid Jamae Mosque and the Church of Gregory the Illuminator are among those that were built during the colonial period. Work is now underway to preserve these religious sites as National Monuments of Singapore. The policy for the primarily commercial ethnic neighbourhoods stands in contrast to the housing policies of the Housing and Development Board (HDB). HDB policies attempt to promote a mix of all races within each housing district in order to foster social cohesion and national loyalty.[3]
[edit] Creative Writing
Singapore has a rich heritage in Creative Writing in the Malay, Chinese, Tamil and English Languages. While there is more emphasis on social and patriotic themes in Malay, Chinese and Tamil, the writer in English finds himself (or herself) more comfortable in the analysis of the individual and his motivations. For the writer in Tamil, Chinese and Malay, a healthy concern with the particulars of everyday life (one could say the minutae of living) and the interweaving of these into the fabric of larger nationalistic, patriotic social events is in no way an offensive experience -- in fact it is expected. The writer in English seems more concerned with discovering an image of the individual self, or extrapolating human experience. The social milieu of the English educated is a middle class one and they have middle class pretensions. The middle class preoccupation with the self has over the years pervaded the consciousness of the modern Chinese and Malay writers and is what made it possible for their identification with writers using the English Language.
The writer in the English language was a comparatively later phenomenon. Creative writing in English is traced to the establishment in Singapore of an institution of higher education in the arts and sciences, Raffles College, which subsequently became the University of Malaya in Singapore together with the King Edward VII Medical College. One of the high points in writing in English was the early and mid-fifties when a rising anti-colonial nationalism was at play and contributed to the desire to be identified as "Malayan". The poems of Wang Gungwu, Lim Thean Soo and Augustine Goh Sin Tub from this period are in a category by themselves. Except for Wang who managed to move into some detached social poems, the rest are mostly personal and experimental in their use of language. The imagery is for most part forcedly local with rubber trees, durians, laterite etc appearing again and again as do words and phrases from Malay and Chinese. This led to the coining of the word "Engmalchin" to explain the highly rarefied, nationalistic application of such languages in poems in English.
In the mid-fifties and early sixties there rose a group of writers in English, only a few of whom are alive today--Ee Tiang Hong, Edwin Thumboo, Llyod Fernando and Oliver Seet. A "younger" group among whom Wong Phui Nam was most outstanding arose a few years later and moved away from the conscious Malayaness of their immediate predecessors, but found themselves unsure of direction; though convinced of their interest in writing. Edwin Thumboo's "Rib of Earth" published in 1956 was decidedly a milestone but had its strengths and weaknesses. Among the strengths are an individual voice, a willingness to extend imagery into readings from the past, an urge to explore the individual and what made it possible to be part of the whole, and yet a piece apart, at the same time. The weaknessess are mainly images that run out of hand because language is not firmly held, the need to be seen; to be in full control of the expression, its idiom and direction -- a too careful and pointed exposition of values and direction. One admires the craftmanship but feels the loss of the human being. Against this, Wong Phui Nam's "How the Hills are Distant" (1965) provides an indication of the less disciplined mind waging war, discovering in the self, new avenues, new dimensions. Phu Nam is essentially a participant, though his observation can be as dry, pointed and cutting as Thumboo's sixties poems. Phui Nam utilises wide eclectic reading, weaving into the poems an inspired montage of the real and unreal. The poetry does not sooth; it awakens primal nagging.
During this period (1950-1963), prose writing was almost negligible. Herman Hochstadt's "The Compact and Other Stories" is about the only collection. Llyod Fernando, then a short story writer, published his first novel after 20 years. Of the other writers, Awang Kedua (Wang Gung Wu, again) had surest control of language and development of theme. It was however, poetry and not prose that surged forward in the sixties beginning with Robert Yeo, Dudely de Souza, Arthur Yap(died in 2006) and Wong May. The achievements of these writers were consolidated and enlarged by the establilshment of "FOCUS", the journal of the Literary Society of the University of Singapore, so much so that when the next group of writers, Lee Tzu Pheng, Mohd Hj Salleh, Yeo Bock Cheng, Pang Khye Guan, Syed Alwi Shahab and Chandran Nair(now living in Paris) arrived at the University in 1965, there was already in existence within the confines of the University, a micro-tradition of writing and publishing in English. The arrival of Edwin Thumboo to the English Department from the Civil Service was an added impetus.
At around this time too, Goh Poh Seng (now living in Canada), who had actually taken a year off to do nothing but write in Dublin and London (and almost starved as a result), arrived to begin work as a Medical Officer at the General Hospital. He started "TUMASEK" a journal for the publication of Singapore/Malayan writing; the fourth such attempt -- the first being "WRITE" begun by Herman Hochstadt and others in the late 1950s; the second,"MONSOON" edited by Lim Siew Wai in the early sixties; the third, the aforementioned "FOCUS". "TUMASEK" however followed "MONSOON" into death after a few issues but Goh pushed forward undaunted and founded together with Lim Kok Ann, CENTRE 65 which presented the first ever "Poetry and Folk Music Festival" to Singaporeans at the Cultural Centre in 1966. The Centre provided Goh with the framework to develop as a playwright beginning with his "Moon is Less Bright" and going on to "When Smiles are Done". Goh later decided that his particular field was prose; "The Immolation" being his first novel.
The poets of the mid-sixties extended their style and techniques in the seventies and published in local and international journals and also in individual collections--Robert Yeo's "Coming Home Baby" and Arthur Yap's "Only Lines" in 1971, Chandran Nair's "Once the Horsemen and Other Poems" in 1972, and "After the Hard Hours, This Rain" in 1975. The impetus of the sixties was carried over into the seventies and among the names that emerged in poetry were Chung Yee Chong, Sng Boh Kim, Ernest Lim, and Geraldine Heng, who achieved a remarkable fluency of style in a single volume work, "White Dreams".
Here is what Edwin Thumboo has to say about some of these poets in his Introduction to "The Second Tongue": An Anthology of Poetry from Malaysia and Singapore, 1976
. . ." Arthur Yap, whose Only Lines appeared in 1971, is also a painter and short-story writer. His is the poetry of acute observation, one that distances and evaluates landscape, incident and situation through a decidedly wry, at times, laconic eye. Both the tone and the direction of the poetry come close to the borders of, but do not enter, irony.
"squat under the sultan's monument
is seen and appraised.
hands reached out spanning the years
to pluck the rambutans
the sultan had never eaten, throw the shells down river
a little later
the boat pulled from the Jetty, there was a lull
and then the landscape settled down." (Panchor)
And yet the same powers of observation distil gentleness and pathos as in the first section of 'tanah rata' where the painter and poet in Yap meet to arrange a scene which then gradually comes alive with passers-by. The colour and spaciousness of the prospect are reiterated in a gesture that takes us away from the foreground. But the moment we feel the picture is complete and our responses neatly arranged, we are disturbed by a new presence:
"to which we can add
to old woman weeding
nodding to flowers
gradually growing upwards
and ending where the slope begins"
The method, especially in the way it leads the reader, ought not to give the impression of fine verbal calculations only. Here, as in his other poems, Yap is deeply responsive to the human centre of things. There is hardly a poem in which this primary interest is not present. Suffering man is imaged obliquely in 'minimum excavation'; or explicitly in 'Old House at Ang Siang Hill'. The concern extends to an examination of relationships as in 'In Passing':
"you brought, from a friend, an l.p. for us to share
with regards. you exclaimed in chinatown that it
was all so intriguing while we, not wanting to
be perfunctory, left you to your intrigue, then,
at the airport, with its mural, its coffee, we
waited, while talking and talking, for you to comment
on the fine building, the mural assembling the sea-
front or, even the airconditioning.
but you were fumbling your bag for your sweater."
Yap's poems are subtle commentaries; they reveal rather than explore in the way that much of Chandran Nair's poetry is exploration. 'Once The Horsemen'(1972) communicates the variety of Nair's poetic world, and the note of urgency with which he attempts his themes. Image and metaphor abound, are part and parcel of 'the wrestle with experience'. For the raid into the inarticulate to achieve what Shelley called 'new materials of knowledge' amounts to an essential self-understanding to harmonise the ways of thought and feeling. By taking many themes as grist for his maw, Nair's poetry ranges over the feelings of a Hindu bride to the Roman emperor, Caligula. The simultaneous forays into life and language and the myths and legends of East and West, have strengthened and extended the coordinating power of Nair's idiom. At their best they are capable of passages of this quality:
"walk the vinyard, where love grows.
the vines climb the trellis
into a sun no longer drying
and the wind that once roared vengeance
is gentle on the skin, penitent.
walk the vinyard and be content while the fences come down
one by one." ('after the hard hours, this rain')
The achievement here is of a high order. Tone merges with rhythm and rhythm moves obedient to a compound of thought and feeling. There is no hustling for effect that at times disrupts some of the poems in 'Once A Horsemen'. Snug in their context, the words create and project fully what the poet intends.
But each poet has to define his or her own exploration. Some show a certain caution, nurse their resources 'stylistic and emotional' to gain a slower but less erratic development.
Almost without exception,Lee Tzu Pheng's poems have clarity and richness of texture. There is a nice balance between the potential of her subject and its realization. Her poems are neither over- nor under-written. Her subjects are familiar but the way they are shaped identifies them as attempts to gain an integrated response to the bed-rock of experience principally of human relationships. At the core is the need for a more inward and real contact, in circumstances of stress, of living in a time when the old life is under pressure. There is an unusual but typical tact and modesty because the 'I' in her poetry does not attempt to quarrel with or dominate her world, but instead seeks individual motives and meanings in accommodations between herself, circumstances and environment. This is because the 'I' is not the conventional ego, but rather an identity, a sensitiveness, a consciousness whose reaching out is powerful yet modest in its assumptions.
"Must I like an oyster
repose in the shell,
hearing only the dumb scream of the sea-surge
outside, moving me against knowledge,
and perhaps will, to new habitations,
new graves;
or shall I let in, now,
a small grain of sand,
suffer its torment
and harden this sickness
to pearl." ('A Thought')
A central problem consists of the poet's encounter with the world at large, between an active humanity and the harsh aggressiveness imaged in the 'scream of the sea-surge'. Thesis-antithesis; the synthesis is that movement to new 'knowledge. . perhaps will. . . new habitations'. There is the choice of protecting oneself against the world, shutting it out, or letting it in; to suffer and through that gain a thing beautiful. She opts for a commitment to troubled waters. This spirit informs her poems, so that while they each deal with their particular theme or occasion, they also relate to her basic position as in 'Nightpiece', 'New Year's Morning' or 'Prospect of a Drowning'. Lee's most notable poem to date, 'My Country And My People', brings together personal and public history with candour. By straddling the two worlds, by subsuming the public to the personal, the poem acquires both a wider frame of reference and an intimacy that would otherwise be lacking. Lee speaks on behalf of a generation:
"My country and my people
I never understood.
I grew up in China's mighty shadow,
with my gentle, brown-skinned neighbours;
but I keep diaries in English.
I sought to grow
in humanity's rich soil, and started digging on the banks, then saw
life carrying my friends downstream.
Yet, careful lending of the human heart
may make a hundred flowers bloom
and perhaps, fence-sitting neighbour,
I claim citizenship in your recognition of our kind.
My people, and my country, are you, and you my home."
In addition to her usual range of technical resources, Lee has very skilfully, in the last stanza, utilised phrases "hundred flowers bloom?, fence-sitting neighbour" that harbour a special potency in politics, national, regional and international.
Today the younger poets writing in English, Leong Liew Geok, Angeline Yap, Boey Kim Cheng, Heng Siok Tian, Paul Tan,Yong Shu Hoong, Cyril Wong and Felix Cheong, show a more "diffusive" sensibility: rather than treating the self as linked to a core or primal place or time (Singapore before independence, a childhood haunt), their poems are conscious of the change and flux, the dispersions and returns which are appropriate to comtemprorary Singapore society.
[edit] National symbols
- Flag of Singapore
- Coat of arms of Singapore
- Majulah Singapura - the National Anthem of Singapore
- Singapore National Pledge
- Vanda Miss Joaquim - the National Flower of Singapore
- Symbol of Singapore - the Lion Head symbol
[edit] See also
- Holidays in Singapore
- Cinema of Singapore
- Cuisine of Singapore
- Literature of Singapore
- Dance in Singapore
- Music of Singapore
- Tourism in Singapore
[edit] References and notes
- ^ Jake Lloyd Smith, 24 July 2004. Singapore filmmaker takes Cut at censors, Houston Chronicle, retrieved January 25, 2006.
- ^ "Construction begins for Singapore's Arts School", Channel NewsAsia, 25 January 2006. By Valarie Tan.
- ^ Ethnic Group Eligibility, Housing Development Board InfoWEB. Retrieved on 2006-04-30.
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