Doris:
Our exploration of the Singapore Identity through the Singapore literary works of Catherine Lim and Arthur Yap has been an insightful one for me, works both which highlighted the theme of dying traditions in the face of modernity in today's Singapore.
Yap's work, 'old house at ann siang hill' highlighted how old and unique places in Singapore that are rich in heritage became irrelevant and were wiped out during the modernization era of Singapore. Despite the nonchalant and cynical tone that was adopted throughout the poem, Yap conjured nostalgia throughout the poem with images of an old furnished home, ending of with "eyes not tradition tell you this" like how what we see today might tell us one thing, but our heart could tell us another, like how we might feel an emotional loss for the places that once were.
Lim's story, 'The Taximan's Story' on the other hand, was about dying traditional values among the younger generation, such as those of humility and filial piety. The story gave me insight into how members of the older Singapore generation might feel about the younger generation today being less traditional and following more globalized trends.
In any case, our interview with Catherine Lim, as well as our exploration of Ann Siang Hill and analysis of the literary works gave me a deeper understanding of the importance of recognizing Singaporean heritage and traditional values as part of the Singapore identity while embracing the highly modernized Singapore as it is today.
Sophia:
As an exchange student from America in Singapore, this project really taught me a lot about old versus new Singapore. Now, as someone in my early twenties, I am part of the new generation and can relate to other fellow students and Singaporeans part of this new generation as well. We are a generation of increasingly liberal, open minded people with our whole lives ahead of us. With the media and technology available to us in Singapore today, we know about what the world outside of Singapore has to offer and have a natural interest toward western foreigners like the taxi man's daughter in the story.
The taxi man reminds me a lot of my father's generation, a more conservative generation of hard workers who built a life for themselves and their children, us, through sheer hard work and resilience. Ironically, we are able to enjoy the freedom of being this liberal and open because of the hard work of the more conservative, hard working generation before us. The taxi man's daughter is able to have fun with her friends and meet foreigners after school because of her father's hard work.
Right now, we are all living in this grey time where the old and new generations are co-existing and merging. This project helped me reflect on this unique time period in Singapore and understand Singapore much better as an old and new society. Singapore has been born and established by our parent's generation. Now, we hold the power and responsibility to move it forward in positive, innovative directions.
Koh Feng:
Singapore's progress as a nation is remarkable; we have achieved so much in a mere span of fifty years. The Singapore we live in today is very much modernized, and this goes beyond the state-of-the-art technology we have access to or the metropolis the country we have become. Culturally, we are more diverse, but with that comes also some form of dilution. Traditional practices are still observed, but it is not the same as in the past - less strictly adhered to, depreciation of some values or morals, or even shifts in paradigms between generations.
The works of Arthur Yap and Catherine Lim have raised similar concerns; both 'old house at ann siang hill' and 'The Taximan's Story' highlight the conflict between tradition and modernity. Having chosen to focus on this theme amidst the many others that were brought up in our analysis of the two works, I realised that a huge part of why 'tradition versus modernity'/'old versus new' appealed so greatly to us was the timelessness of the issue. It is still present in the Singapore we live in today, and perhaps arguably more so - we are even further removed from these roots of ours than the previous generations has been. Though the immediate issues that we are dealing with are different from that of our elders, we essentially are struggling with trying to find where we stand amidst this conflict, and that brings us to the problem of identity.
The identity of Singapore as a nation has been and still is a contentious topic. We are, in between observing traditions and embracing progress, in the process of solidifying our identity as a country. It is heartwarming to note that this year being the fiftieth year of the nation's independence (SG50), and most of the country have come together - in one way or another - to commemorate this occasion. Extravagant celebrations and displays, the inking of the SG50 logo everywhere (even on driving licenses and debit cards), and initiatives that are in line with the SG50 theme (SG50 time capsule), the nation's fiftieth birthday is a strong cause for the people to identify with the nation. Linking back to the works that we have read, while it is rather saddening that some of these traditions are being cast aside and some parts of our history may not have been preserved, we have to note too that all these things collectively make the nation who we are today. Identity is an issue that will probably stick with us indefinitely; it is always going to change because we cannot remain at status quo. And as we recognize this conflict between tradition and modernity, it should be noted that it is a part of what helps define our identity, and that it is a sign that the country is progressing.
The journey I have had with this project has been immensely fulfilling - an interview with a local writer, looking at these places that I otherwise would not have visited, and exploring some thematic concerns in depth. Embedded in the literature are the rich cultures and traditions that the Singapore of the past had, and reading Singapore literature has provided me with an avenue to understand better life as it was then. As the country continues to progress and evolve, it is in these works where we can find these precious relics that allow us to appreciate Singapore better.
Michele:
I feel very fortunate to have been able to interact with the people featured in our project. Catherine Lim was very pleasant and willing to help us, and Mr Lim was also very accommodating.
On a more personal level, I feel that I understand my country better now that I have taken this module. Before, I could see all the themes that we discusses - post-colonialism, identity, growth, modernity... but I could not really see what they meant or how they had developed. It was like looking in a smudged mirror - the shapes were there, but the clarity was not. Now, I can understand my history more; my struggles with myself and my country as a young millennial is not a new struggle at all. At every step of Singapore's history, the "new" generation of the times felt the same as I do now. They would have gone through the chidings of their elders and found their own niche in history, and would have in turn chided the generation after. Years upon years this cycle has continued, and will likely continue with mine. I will expect myself to be like the Taximan in Catherine Lim's story when I grow older - bemoaning our good times and thinking that the next generation is ruining their lives.
Beyond that, it was very interesting to see how Singapore has developed. Literature is, after all, a mirror to humanity's soul. The thoughts and the energy the authors (all of them!) have put into their stories are infinitely precious, where they did their best to show a side of Singapore and humanity that isn't seen anywhere else. From the concerns of a colonial master in the early days to the fear of change in the early independence days and finally to the young Singapore, struggling to find a place in the world.
All in all, I truly enjoyed taking this module. I feel like I'm more in tune with my parents' generation, and how they lived and saw their world.
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