Journal of Social Sciences, Naresuan University, 2022
While in other countries, oral histories are usually employed to balance state power and are init... more While in other countries, oral histories are usually employed to balance state power and are initiated by non-governmental organisations, oral history in Singapore originates from and is strongly supported by its government and is an indispensable part of Singapore history. As a rather new nation comprised of various ethnicities, including Chinese, Malay, Indian, and Eurasian, nation-building is always at the centre of concern for the state. The use and archiving of Singapore's Oral History Project thus plays a significant role in its nation-building process, particularly in constructing its national art history. This research thus reveals the significance of archives and archival processing, particularly those related to oral history, in reinforcing nationalism and national identity. Navigating through oral records of a specific group of Chinese Singaporeans termed "pioneer Nanyang/Singapore artists," this research article reveals a brief history of the Oral History Project and related institutions in Singapore, its political implications, and connection to nation building, specifically in the case of the interview with Liu Kang, a renowned pioneer Nanyang artist. The classification of oral records influences the way researchers use them, particularly with regard to
Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thai... more Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thailand, this article takes a largely neglected etic perspective in exploring the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).
在大部分国家和地区,口述历史往往由非政府民间组织发起作为对正统历史的一个补充和平衡,但新加坡的口述历史项目则是在国家倡导下发起,并在官方支持下发展壮大,继而成为新加坡历史一个重要的组成部分。作为... more 在大部分国家和地区,口述历史往往由非政府民间组织发起作为对正统历史的一个补充和平衡,但新加坡的口述历史项目则是在国家倡导下发起,并在官方支持下发展壮大,继而成为新加坡历史一个重要的组成部分。作为成立时间相对短且民族结构复杂的国家,如何将这样一个包含华人、马来人、印度人及欧亚人种社会的国族建设做好一直是新加坡政府尤为关注的核心问题。在这个过程中,口述历史项目起到了意想不到的积极作用。因此,这一项目的缘起、发展与具体实施过程中如何分类以及如何选择采访对象都能反映出新加坡政府对国家身份认同建构的导向和国族建设努力的方向。对其中南洋画派艺术家尤其是其代表人物刘抗口述历史记录的个案分析,见微知著,可以对新加坡口述历史的导航作用有更具体和深层次的了解。
This research explores the connection between arts, artists and Singapore’s nation-building proje... more This research explores the connection between arts, artists and Singapore’s nation-building project. Through using historical approach exploring the production and exploitation of a unique art style called Nanyang Art, the research reveals the sophisticated process of socio-cultural formation, identification and nationalization of transnational forces in Singapore during its nation building process. The art style itself was created by a group of overseas Chinese artists who lived transnational life from Shanghai, Europe, Indonesia, to Singapore. Their works were produced during the transitional period when Singapore became independent state as a part of Malaya. The style thus exists both in Singapore and Malaysia. It is also a significant part of art history of the two countries. However, it was Singapore who promoted the style as Singapore national arts. Liu Kang, one of the creators of Nanyang Art, also became famous in Singapore while in Malaysia his name is rarely mentioned. Painted by using the combination of western and eastern style, embracing Southeast Asia as a scene, inclusive of various ethnicities in the painting, Nanyang Art serves as a medium for negotiating Singapore identity in its nation-building process. The famous artist, Liu Kang and Singapore government had played significant role in this process. In other words, there are links and parallels between arts, artists, and nation-building project.
ประวั ติ ศาสตร์ ธรรมศาสตร์ วารสาร THE THAMMASAT JOURNAL OF HISTORY, 2019
Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thai... more Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thailand, this article takes a largely neglected etic perspective in exploring
the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing
the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).
Journal of Social Sciences, Naresuan University, 2022
While in other countries, oral histories are usually employed to balance state power and are init... more While in other countries, oral histories are usually employed to balance state power and are initiated by non-governmental organisations, oral history in Singapore originates from and is strongly supported by its government and is an indispensable part of Singapore history. As a rather new nation comprised of various ethnicities, including Chinese, Malay, Indian, and Eurasian, nation-building is always at the centre of concern for the state. The use and archiving of Singapore's Oral History Project thus plays a significant role in its nation-building process, particularly in constructing its national art history. This research thus reveals the significance of archives and archival processing, particularly those related to oral history, in reinforcing nationalism and national identity. Navigating through oral records of a specific group of Chinese Singaporeans termed "pioneer Nanyang/Singapore artists," this research article reveals a brief history of the Oral History Project and related institutions in Singapore, its political implications, and connection to nation building, specifically in the case of the interview with Liu Kang, a renowned pioneer Nanyang artist. The classification of oral records influences the way researchers use them, particularly with regard to
Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thai... more Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thailand, this article takes a largely neglected etic perspective in exploring the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).
在大部分国家和地区,口述历史往往由非政府民间组织发起作为对正统历史的一个补充和平衡,但新加坡的口述历史项目则是在国家倡导下发起,并在官方支持下发展壮大,继而成为新加坡历史一个重要的组成部分。作为... more 在大部分国家和地区,口述历史往往由非政府民间组织发起作为对正统历史的一个补充和平衡,但新加坡的口述历史项目则是在国家倡导下发起,并在官方支持下发展壮大,继而成为新加坡历史一个重要的组成部分。作为成立时间相对短且民族结构复杂的国家,如何将这样一个包含华人、马来人、印度人及欧亚人种社会的国族建设做好一直是新加坡政府尤为关注的核心问题。在这个过程中,口述历史项目起到了意想不到的积极作用。因此,这一项目的缘起、发展与具体实施过程中如何分类以及如何选择采访对象都能反映出新加坡政府对国家身份认同建构的导向和国族建设努力的方向。对其中南洋画派艺术家尤其是其代表人物刘抗口述历史记录的个案分析,见微知著,可以对新加坡口述历史的导航作用有更具体和深层次的了解。
This research explores the connection between arts, artists and Singapore’s nation-building proje... more This research explores the connection between arts, artists and Singapore’s nation-building project. Through using historical approach exploring the production and exploitation of a unique art style called Nanyang Art, the research reveals the sophisticated process of socio-cultural formation, identification and nationalization of transnational forces in Singapore during its nation building process. The art style itself was created by a group of overseas Chinese artists who lived transnational life from Shanghai, Europe, Indonesia, to Singapore. Their works were produced during the transitional period when Singapore became independent state as a part of Malaya. The style thus exists both in Singapore and Malaysia. It is also a significant part of art history of the two countries. However, it was Singapore who promoted the style as Singapore national arts. Liu Kang, one of the creators of Nanyang Art, also became famous in Singapore while in Malaysia his name is rarely mentioned. Painted by using the combination of western and eastern style, embracing Southeast Asia as a scene, inclusive of various ethnicities in the painting, Nanyang Art serves as a medium for negotiating Singapore identity in its nation-building process. The famous artist, Liu Kang and Singapore government had played significant role in this process. In other words, there are links and parallels between arts, artists, and nation-building project.
ประวั ติ ศาสตร์ ธรรมศาสตร์ วารสาร THE THAMMASAT JOURNAL OF HISTORY, 2019
Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thai... more Instead of taking a widely used emic perspective in exploring the identity of the Chinese in Thailand, this article takes a largely neglected etic perspective in exploring
the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing
the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).
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The art style itself was created by a group of overseas Chinese artists who lived transnational life from Shanghai, Europe, Indonesia, to Singapore. Their works were produced during the transitional period when Singapore became independent state as a part of Malaya. The style thus exists both in Singapore and Malaysia. It is also a significant part of art history of the two countries. However, it was Singapore who promoted the style as Singapore national arts. Liu Kang, one of the creators of Nanyang Art, also became famous in Singapore while in Malaysia his name is rarely mentioned.
Painted by using the combination of western and eastern style, embracing Southeast Asia as a scene, inclusive of various ethnicities in the painting, Nanyang Art serves as a medium for negotiating Singapore identity in its nation-building process. The famous artist, Liu Kang and Singapore government had played significant role in this process. In other words, there are links and parallels between arts, artists, and nation-building project.
the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing
the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).
The art style itself was created by a group of overseas Chinese artists who lived transnational life from Shanghai, Europe, Indonesia, to Singapore. Their works were produced during the transitional period when Singapore became independent state as a part of Malaya. The style thus exists both in Singapore and Malaysia. It is also a significant part of art history of the two countries. However, it was Singapore who promoted the style as Singapore national arts. Liu Kang, one of the creators of Nanyang Art, also became famous in Singapore while in Malaysia his name is rarely mentioned.
Painted by using the combination of western and eastern style, embracing Southeast Asia as a scene, inclusive of various ethnicities in the painting, Nanyang Art serves as a medium for negotiating Singapore identity in its nation-building process. The famous artist, Liu Kang and Singapore government had played significant role in this process. In other words, there are links and parallels between arts, artists, and nation-building project.
the identity of the Chinese in Thailand. As identification is a process engaged by both self and other, this article attempts to shed some light on the external construction of the identity of the Chinese in Thailand by revealing
the changing conception of the identity of the Chinese in Thailand in the PRC. By analyzing various representations of the Chinese in Thailand appeared in Chinese media and prints, this article argues that from the 1980s to the 2010s the PRC Chinese has conceived the identity of the Chinese in Thailand in different ways ranging from the Chinese in Thailand as compatriot (同胞), relatives (亲戚) to the distant relatives (远房亲戚).