31st January, 2023

So on Sunday 19 November, I turned up “Walking Tours through Lost Singapore: Haunted Paths”, created by playwright Neo Hai Bin and the heritage group all things Bukit Brown, part of Singapore Writers Festival 2023… and while it wasn’t bad, I wasn’t impressed.

Sure, it’s perfectly pleasant to wander the grounds of Bukit Brown Cemetery in the cool of a November morning, learning facts from volunteer Claire Leow about tomb design—overseas Chinese culture (didja know that only we put the names of living descendants on tombstones? In China it’s taboo) and World War II (there are still bullet holes on a headstone from a battle in 1942). And yes, there’s a poignant metaphor when the recording describes the cemetery as a heart in the centre of Singapore, and its desecration by the construction of Lornie Highway as the breaking of that heart.

But ultimately, this work didn’t rise to meet its advertised standards. Despite the “Haunted Paths” in the title, this was a 10am event without a single ghost story. And despite the official SWF theme of “Plot Twist”, the narrative line was pretty damn straightforward. The voiceover mourned the fact that so many stories were being lost, but the stories that were told were the same ones I’ve heard a million times before: Chinese immigrants coming to Singapore and making it rich; Chinese people dying of grief during the War; Chinese descendants unable to find their mother’s tomb after 2012 due to the destruction of the landscape.

It’s easy to characterise heritage groups in Singapore as having progressive politics, cos they’re standing up to capitalism and unilateral government decisions. But Bukit Brown ironically builds on pretty conservative values: a centering of majority race culture; the preservation of patriarchal religious traditions; hegemonic historical narratives.

“Haunted Paths” tried to push back against that a little. Leow told us how “Lorong Halwa” is a combination of the Malay word for “lane” and the name of an Indian sweet; how they’ve found a mysterious record in the archives of a Chinese couple who gave their daughter a Dutch name; how it’s clearly cringy to our generation that our ancestors referred to Southeast Asia as a “barbarian land”. But we didn’t get questions that actually problematised the status quo. Who did these great Chinese tycoons have to climb over to get so rich? Did they see the Sikh guards they immortalised in stone as their equals? Why are none of the “notable names” buried here actually famous enough to be mentioned in our textbooks?

I’m being particularly hard on this show because I’ve seen really cool work being done in response to Bukit Brown, like DramaBox’s interactive/documentary theatre pieces It Won’t Be Too Long: The Lesson and The Cemetery; Ishvinder Singh’s Sikh Heritage Trail app; MyCommunity Festival’s Seventh Month night tour “After Hours @ Bukit Brown”. All of these provide deeper, unexpected insights into this site—and from what volunteer Catherine Lim told me, “Haunted Paths” was supposed to too, with its initial focus on World War Two ghost stories. She had been working on a script for a wandering spirit with no grave, dumped in a mass grave in the chaos of a war where the bodies in the morgue was piling up. But she fell ill and could not make it for the meeting.

Compared to such efforts, what we ended up with was the same old reheated leftovers, garnished by a dancer in the background doing soulful qigong. Which is particularly galling at one of Pooja Nansi’s editions of SWF, known for being extra-creative and challenging with the discourse, where it should be known that “wah-wah-Singapore-doesn’t-respect-its-history” has become a literary cliché.

All this being said, I recognise that the average audience member was pretty satisfied with the show. There aren’t, I realise, as many well-publicised Bukit Brown-themed events now as there were in the 2010s, so a whole generation of heritage newbies (young people, immigrants and older folks discovering new hobbies) don’t see all these tropes as clichés.

I’m not telling them they’re wrong to have enjoyed the show. But I am telling the artists involved to do better. They oughta know what’s been said and done before. They oughta go beyond that. We honour the dead, but as the living, we get to keep growing.

And honestly—as someone who sent in four proposals for SWF 2023, all of them engaging w the theme of the unexpected—it galls me that the committee’s chosen to serve us the same old reheated tripe, garnished w a dancer in the background doing soulful qigong.

A writers festival, of all places, is the occasion to be more creative & challenging writing of  the discourse, rather than to just repeat the tired #singlit refrain. 

The end of the narrative with the new Lornie Highway as the backdrop Photo: Catherine Lim

Stoned steps leading to ? Photo: Catherine Lim

“Not so haunted paths. Spot the dancer. Photo: Catherine Lim

Ng, striding in with the pack, 3rd from left. Photo: Claire Leow

(Dr) Ng Yi-Sheng is an award winning author, who has participated in past SWFs. He is an energetic participant in the book and art scene, providing reviews and insightful critiques of what he has experienced and read.