Finally finally finished my final paper for UWC2102K!!!

Not really meant for people visiting my blog to read, just want to show off a bit.... and enjoy the sense of accomplishment ^_^

No matter what horrible grade I will get for this module, just feeling happy that I finally finish it for the time being...

Why Singapore embraces "Asian Values":

 The Asian Civilisations Museum

1          Singapore is a place that arouses deeply divided feelings among observers and a strong sense of ambivalence among Singaporeans. Economically, Singapore relies on the Western model of progress and is proud of its openness to trade and investment. Yet, the government has been promoting "Asian values" such as filial pity, family values and respecting authority as core values for Singaporeans in order to fight "decadent" western values. "Asian Values" was a concept that came into prevalence in the 1990s, based on the belief that Asian countries have a unique set of institutions and political ideologies which reflected the region's culture and history. However, the cultural diversity of Asia is too great for there to be a single set of common values across the region. Furthermore, this idea seems inconsistent with the Western economic model which Singapore's progress is based on. As such, the Asian Civilisations Museum and other buildings in Singapore which serve to "promote a better appreciation of the rich cultures that makeup Singapore's multi-ethnic society" (Asian Civilisations Museum) will be important to help observers, and more importantly Singaporeans to explain the incompatibility between Singapore's modernity and "Asian-ness".

2          The Asian Civilisations Museum opened its door to the public after five years of extensive renovation to the colonial Empress Place Building in March 2003. The new museum is located at Singapore River area, surrounded by many colonial styled buildings, and is part of the "arts belt", which includes the Victoria Concert Hall, the Esplanade complex, and the Arts House in the Old Parliament House Building. This "strategic" location is part of Singapore’s master plan to create a "Renaissance City" with substance and character. Housed with exhibits of Southeast Asian, Chinese, South Indian and Islamic antiques, it claims to be the "first museum in the region to present a broad yet integrated perspective of pan-Asian cultures and civilizations" (Asian Civilisations Museum). Civilisation refers the type of culture, tradition, and heritage developed by a particular nation or region over a long period of time. The very plural term "civilizations" is used to depict Singapore's multi-ethnic condition and its desire to acquire a historical anchor. Being a member of National Heritage Board, the museum follows the mission "To Forster Nationhood, Identity … through Heritage and Cultural Development" (National Heritage Board). Thus, the museum attempts to forge Singapore's ancientness, richness in heritage and to create common values that Singaporeans can identify with. It is puzzling that the national identity, which should give the country a "sense of collective worth, stakeholdship, social solidarity and common destiny" (Mutalib, 55) actually relies on a disparate and obscure concept of "Asian-ness”"rather than pure "Singaporean-ness". Through the close examination of Asian Civilisations Museum and revisiting the questionable concept of "Asian Values", we might be able rationalize Singapore's choice.

3          The concept "Asian" was developed in the past by Westerners as a "myth to contrast the hardworking, thrifty European with the lazy, profligate Asian who needed the help of the imperialist white man in order to advance" (Michael Haas, 160). Being a post-colonial country, it is not a mere coincidence for Singapore to adopt this pre-colonial racist rhetoric. Inventing an "authentic Asian-ness" represents Singapore's "desperate attempt to escape" its "hybrid fate, the perceived fate of its impurity" (Ang and Stratton, 183). It is precisely because of the "deeply embedded western legacy" and "a very ethnically mixed population" (Ang and Stratton, 183) that Singapore chose "Asian Values" as a means to reconcile Islam, the religion of the Malays, with the Confucianism of the ethnic Chinese, and Hinduism, thereby helping to create a sense of common ground between different ethnic and religious groups in those countries, as well as forming an ideology that could challenge the West.

4          Visiting the Asian Civilisations Museum is not always pleasant. The narrow walkway leading to the entrance of the first Gallery "Southeast Asia" strikes me as disconcerting. Before visitors can see artifacts on display, they are guided by arrows to walk along an alley constructed by a few projectors and screens in a room with almost total darkness. Images from projectors feature cultural activities such as the Chingay Parade and surprisingly, the economic developments in Singapore such as the building of the HDB flats. It seems out of place in a museum highlighting the "Asian-ness" of Singapore. Also, it is said that the light in the museum is specially designed by architects so that it will translate sense of heaviness to the objects on display. Such a lighting system is part of the museum's effort to "invest the national culture with substance and originary solidity" (Ang and Stratton, 185). The religious structures such as Hindu temples and Islamic Mosques in display are shown partly by images projected on the wall and partly by the model constructed below. The combination is so coarsely constructed that it seems rather inappropriate or even offensive. It is illogical that a museum which supposedly to educate people with authentic evidences is full of man-made constructions. However, without deliberate planning and construction, it is nearly impossible to pursue a common national identity in Singapore's hybrid society.

5          In addition to the artificiality, the Asian Civilisations Museum appears to offer an altered view from the original cultures. A visit to the China Gallery is particularly disturbing. Being a Chinese citizen, I have visited many museums in different parts of China, yet this is the first time I can hardly identify with any artifacts on display. The very fact that the story of China is showcased according to themes rather than in the chronological order is troubling. As far as the Chinese "civilisation" is concerned, China's five thousand years of history should never be ignored. Unexpectedly, there are only number of limited themes selected in the China gallery and almost no mention of the Chinese history. Although most of the artifacts showcased in the China gallery are stunningly beautiful, especially under the special lighting system, they translate little historical values. For example, the gallery contributes a big portion to "The Four Treasures" of Chinese scholars. However, these are products that can be easily purchased from stationary shops even today. They can only be considered "unique" in Chinese culture but do not necessarily contribute a major part in the Chinese "civilizations". The choice of displaying less well known Dehua porcelain over much more famous Jingdezhen porcelain reflects the gallery's attempt to show the exotic aspect of Chinese culture rather the genuine essence of Chinese civilizations. The whole Chinese gallery is like a well-ornamented shop displaying exotic souvenirs from China to please people who have very limited knowledge about Chinese history and culture. Due to the lack of pre-colonial history, Singapore has to seek "a system of cultural representation" (Ang and Stratton, 182). The mainstream Chinese culture in China is after all, different from what is in Singapore. While mainstream Chinese culture encompasses the whole mainland China, Singapore Chinese culture mainly focus on the southern coastal regions of China where the ancestors of Singaporean Chinese came from. Through the altered Chinese "civilization" and selected artifacts in display, Singaporean Chinese may find it is easier to identify them with the Chinese culture because the gallery shows the part of Chinese civilization that is closest to Singapore.

6          The museum is built to seek common identity from the heritage of Singaporeans' ancestors. Ironically, it is divided very clearly into four different galleries: Southeast Asia, China, South Asia and Islamic, representing the culture and religions of Singapore' s three main races: Chinese, Malay and Indian. Each gallery is separated by huge and heavy doors and there is certainly no cross reference between different galleries, only signs with arrows showing the direction of the next gallery. Singapore claims to seek "'traditional' elements of all the major communities" (Ang and Stratton, 184), however what visitors experience in the museum is the compartmentisation of different races and religions into designated location, just like the "ethnic absolutism contained in colonial 'divide-and-rule' politics" (Ang and Stratton, 185). This contradiction may be explained by the possible crisis that may arise if an "'assimilationsit' strategy" (Mutalib, 57) is adopted and minorities groups have to subordinate under the one general identity of Chinese majority. Thus, an "'accommodationist' approach" (Mutalib, 57) is adopted to allow different ethnic groups to retain their own cultures while "demonstrating their allegiance and loyalty to the nation" (Mutalib, 57).

7          In a museum claimed to showcase "Asian Civilisation", it is interesting to find a small gallery named "Singapore River Interpretive Gallery".  This section display photographs, historical documents and artifacts of Singapore River in pre-colonial, colonial and independence period. The theme is the focus of the history of Singapore River as a hub for trade and finance in the past, as well as the change in lifestyles around Singapore River through the years. Yet, placing Singapore River as a theme in the museum may cause confusion among visitors, in that the Singapore River is also part of "Asian Civilisation". Admittedly, the Singapore River is important to Singapore, even to the South East Asia. However, its influence is mainly restricted in terms of economic development and its history is far too short to be considered a foundation on which a set of values are based on. It can be viewed as an attempt to remind visitors and reiterate the intention that the "Asian Civilisation" displayed in the museum are all part of Singapore's culture, part of "Singaporean-ness". However, the artifacts displayed such as tattered trousers of a coolie who worked the boats and quays and the written notes of an Indian moneylender are too trivial to be considered "heritage" when in fact these artifacts show Singapore's deficiency and sterility in "civilization". It may further justify Singapore's adoption of "Asian Civilisations" as a 'borrowed theme' to supplement its own history and culture.

8          Being a state with short history, as well as a multiethnic one in which the largest group comprises immigrants, Singapore's leaders have had to invent their society. The advances of the social sciences and the belief in the possibility of progress have combined to encourage social engineering. More than any other people, Singaporeans are consciously trying to design their culture. In Singapore, public policies are meant to make Singapore an investor's paradise. In turn, the national ideology is to serve as a civic morality. Therefore, it is clear that the modernity of Singapore is established to cater the public policy while the "Asian-ness" is authenticated to fulfill a civic morality. The historical and cultural background determined Singapore has to "oscillate uncomfortably between a desire for modernization at all costs, and an equally strong desire to build a unique, but distinctively Asian culture" (Ang and Stratton, 184). However, just as the purposely added Singapore River section in the Asian Civilisation Museum, the ultimate goal for Singapore's effort in "straddle East and the West" is neither to be totally Westernized nor dominated by "Asian Values", it is to achieve a unique "Singaporean-ness" which can distinguish Singapore from the rest of the world. Unfortunately, Singapore suffers from an "orginary identity deficit" (Ang and Stratton, 184) where it does not have "mythic resources" (Ang and Stratton, 184) to construct the national identity naturally. While Singapore has to rely on Western capitalism to further integrate the country into today's globalised world, the choice of "Asian-ness" has become a counter force to deter the country becoming overwhelmed by Western values. Therefore, the deliberate act of inserting "Asian-ness" into the nation state has many puzzling and awkward effects. Though incompatible, the "Asian-ness" is an inevitable byproduct of Singapore's search of "Singaporean-ness".

9          The Asian Civilisation Museum looks beautiful during the sunset with the Singapore River and many colonial styled buildings beside it. Boats gracefully slide on the surface of the river juxtaposed with grand skyscrapers at the central business district nearby. It is a perfect scene of combining modernity and history. Yet, ironically, we can hardly find anymore traces of "Asian-ness" outside the museum. The concept of "Asian-ness" seems only to be a topic that is hotly debated in the government policy, frequently used in national education, but seldom seen in Singaporeans' daily life. The Asian Civilisation Museum may have translated informative messages to visitors about Singapore's "Asian" root within the museum. Still, the "Asian-ness" of Singapore does not have a major influence to Singaporeans due to its lack of practical applications in Singapore today's context. Singapore's quest to "straddle between the East and the West" is far from over. Till the day real "Singaporean-ness" appears, Singaporeans will continue to forge a national identity by trying to combine Asian values and continue its economic development following the Western capitalism.

(Word Count: 2,101)

Work Cited:

Ang, Ien and Stratton, Jon. "Straddling East and West: Singapore's Paradoxical Search for a National Identity". Asian and Pacific Inscriptions. Melbourne: Meridian Books, 1995. 179 – 192

Hussin Mutalib. "Singapore's Quest for a National Identity: The Triumphs and Trials of Government Policies". Imagining Singapore. 2^nd ed. Ed. Ban Kah Choon, Anne Pakir, Tong Chee Kiong. Eastern Universitites Press. 2004. 55 – 78

Michael Haas. "Mass Society". The Singapore Puzzle. Ed. Michael Haas. Praeger, 1999. 151 – 186

"Asian Civilisations Museum". < http://www.nhb.gov.sg/ACM/AboutACM/Overview/>. Cited: 05 April 2006

"Empress Place Building". Wikipedia, the free encyclopedia. Updated 22 March 2006. <http://en.wikipedia.org/wiki/Empress_Place_Building>.Cited: 29 March 2006

"National Heritage Board" < http://www.nhb.gov.sg/MCC/aboutnhb/cVisionMission/>. Cited: 05 April 2006