Of riots, immigrants and Singapore’s Global Migrant Festival

Since the refugee crisis hit Europe issues pertaining to migration and population flows have moved up the global agenda. Back home in Singapore, the Little India Riot in 2013 was a shocker (riots in Singapore!) but also a wake-up call about the countries large but often unnoticed pool of low skilled labor.

One side effect of the renewed focus is the establishment of the Global Migrant Festival which takes place in Singapore in December 2018. As part of his research for an article on the festival for a Hong Kong English daily I received some questions from a journalist on the subject of migrants, immigration, etc.

A selection of the questions and my answers are reproduced below.

Syrian refugees at the main train station in Budapest, Hungary (source: Wikipedia)

Q. What do you think are circumstances that led to this festival? How do you see it as something different towards other cultural festival?

A. I don’t know the details of the festival other than the information listed on their website but understand it is geared towards an otherwise culturally neglected demographic of Singapore’s society, i.e. low income foreign workers. In many ways, this is a ‘local’ Singapore festival which hopefully over time will come to encompass the aspirations and talents of an often forgotten segment of immigrant communities. In coming years, as the festival becomes established, festival Organizers will have to walk a fine line between commercialization and maintaining the ‘grassroots’ spirit / intent of the founders.

Q. What problems are they trying to remedy or at least articulate/engage with?

A. Humanizing a demographic of society which is often seen but almost never heard. Without this community many cities, including Singapore, would grind to a standstill. Additionally, I am sure there are lots of hidden talents among festival participants so bringing these talents out will be a service to not only the individuals but also the entire arts community.

Q. Singapore had a setback with the Little India race riots in 2013. How do you think things have changed (or not) since then? 

A. The wording of your question is interesting. Not everyone will refer to the 2013 Little India riots as a race riot. The riot was a seminal moment for Singapore in that it highlighted to broader Singaporean society the need to focus on a minimum quality of life for *all* residents of Singapore, not only Singaporeans and top end foreign talent. Much has been achieved since then because of this focus on the lower paid foreign workers by the government as well as a burgeoning NGO sector. Arguably, this festival itself is a by-product of the 2013 Little India riots.

Q. What do you think can be done to encourage more discussion and community engagement with migrant/immigration issues? Is there anything particularly that requires a shift in debate?

A. It’s a sad testament to the modern world but it took large waves of uncontrolled refugee migration to the developed Europe, especially from Iraq and Syria, for the international community to realize immigration issues are real and must be studied for greater understanding. Poorer countries have faced refugee crises for many decades since in the post-war period, most notably three million plus Afghani refugees in Pakistan during the first Afghan war and many parts of Africa. 

‘Humanizing’ migrant workers and introducing them as real people with hopes, wants, fears, etc. through literature and the arts is a great starting point. Given that foreigners – of all skill levels – comprise approximately 30 percent of our population including sections on such migrant communities in academic courses / syllabi at various levels of learning in our educational institutions should be considered.

I hope we will see more high quality literature and visual arts emerge on the experiences of migrant populations as a result of this increased focus. This festival is a step in the right direction.

Q. How can awareness of these issues help drive change and inclusion in the following sectors? Education, art and culture, employment

A. As I mentioned earlier, including sections on the role of migrant workers in keeping Singapore running smoothly may be included in school syllabi. Additionally, the government may allocate more funding to academic efforts to understand the challenges faced by new citizens and / or migrant workers. Increased funding will lead to more and better research and, hence, greater understanding.

A broad debate on making Mandarin a compulsory subject in school for all Singaporeans until, say, P6 should be initiated. In a majority Chinese society where Mandarin is the lingua franca of the bulk of the population, not speaking Mandarin acts as a glass ceiling as well as a hidden barrier for integration.

Q. Some of the key social issues include concerns of immigrants taking up white-collar jobs, driving property prices up and occupying places in schools and hospitals. How do you think these concerns can be better addressed by the government and individuals?

A. This is a broad policy debate and pertains to Singapore’s historic economic growth model pursued over the last few decades, i.e. grow the population to sustain economic growth. We have gone from approximately three million residents in 2000 to 5.6 million today. That’s a big jump and brings with it not only economic growth but a multitude of ancillary social issues – intended and unintended.

Growth is not an end in itself. A blind focus on generating economic growth misses the point. Economic growth is a means to a fairer, more just and happier society.

As Singapore has achieved levels of affluence comparable to the likes of Switzerland and Austria, Singaporeans must now shift their focus to other aspects of social maturation. These are difficult questions relating to distribution of wealth, taxation structures, provision and subsidies of medical services and so on.

The question of immigration is part of a larger rethink which Singaporeans must undertake about the future priorities of our society.

Q. Cultural identity is always ridiculed or dismissed as being diluted in Singapore. What can be done to discourage this mindset and see more proactiveness from Singaporeans to articulate or develop this 'identity'?

A. National identity is not static. Nor is at an end point a society must achieve. National identity is dynamic. Like any vibrant society, Singapore’s identity is also constantly evolving over time.

Openness to new ideas is necessary for society to thrive, especially in today’s fast paced world. Foreigners – whether immigrants or transient – are a historic part of Singapore’s population landscape and contribute significantly to our melting pot of ideas.

I don’t accept the idea that Singapore’s identity is diluted by immigration or migrant workers. On the contrary, over the course of time, Singapore’s identity is strengthened by new and diverse population groups.

Take Hainanese chicken rice and roti prata, two quintessential markers of modern Singaporean identity. These dishes did not develop in a cultural vacuum. They developed through the interaction of various different immigrant populations on this Little Red Dot.

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Note: Imran is a former banker and has lived and worked in several countries during his international banking career. He enjoys traveling, especially by train, as a way to feed his curiosity about the world and nurture his interest in photography. He is a licensed freelance tour guide in Singapore. He is available on twitter (@grandmoofti); Instagram (@imranahmedsg) and can be contacted at imran.ahmed.sg@gmail.com

Mohatta Palace Museum: a cultural oasis

Karachi may be Pakistan's largest city and commercial capital but it is a relatively new city. Karachi's newness was underscored at a recent map exhibition titled 'Drawing the Line' at the city's Mohatta Palace Museum.

The exhibition also highlights the continuing impact colonial 'lines' have on today's world. From border disputes to nationalist ethnic movements, 'artificial' frontiers created by colonial bureaucratic cartographers are the bane of many present day disputes. Pakistan, a 'new' nation built on the tenuous premise of a shared religion, itself suffers from many of these 'post-colonial nation building' obstacles.

As Pakistan grapples with varying – often competing - notions of what it means to be an 'Islamic Republic,' indigenous culture and history circumscribes the country's debate about national identity. Museums, as caretakers or even creators of culture, play an instrumental role in these formative discussions.

Karachi's Mohatta Palace Museum provides a welcome voice to the national cultural discussions.

The Mohatta Palace Museum entrance, displaying one of the magnficient gardens around the structure

The museum, owned by the Government of Sindh, is housed in a unique structure constructed in the 1920s as a residence for Shiv Rattan Mohatta, a Hindu businessman from Rajasthan. The architecture of Mohatta Palace contains strong influences from Rajput found in Jaipur, especially in the use of pink Jodhpur stone. Strong Mogul influences are also visible in the building's design.

The building was designed by Agha Ahmed Hussain, believed to be the first Muslim architect in India. Hussain had recently arrived in Karachi from Jaipur to take up the post of Chief Surveyor for the Karachi Municipal Corporation (KMC).

In 1947, Mohatta Palace was acquired by the newly independent state of Pakistan and became the official Ministry of Foreign Affairs building. It remained the Foreign ministry's office until Pakistan's new custom built capital of Islamabad was completed in 1966. Following a brief stay of three years (1964-1967) by Mohtarma Fatima Jinnah, the sister of Pakistan's founder Quaid-e-Azam Mohammad Ali Jinnah, the palace was abandoned and remained in disrepair until 1995.

Friendly peacocks freely roam the museum gardens and grounds. Here one is seen 'speaking' with your blogger!

In 1995 Mohatta Palace was purchased by the Government of Sindh and converted into a museum. Drawing the Line is simply one of the many exhibitions held at the museum during the last two decades.

The Mohatta Palace Museum is a must see for any person interested in Pakistan's culture and history.

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Imran is a business and management consultant. Through his work at Deodar Advisors and the Deodar Diagnostic, Imran improves profits of businesses operating in Singapore and the region. He can be reached at imran@deodaradvisors.com.

Singapore’s Gillman Barracks: where history meets art

All thriving urban areas require vibrant arts clusters to keep intellectuality creative. Typically, these neighborhoods arise naturally as artists flock towards them. Sometimes, however, a little nudge is required to get the ball rolling. That is the case in Singapore where three government agencies have partnered with the private sector to push for the success of Gillman Barracks (GB) as a contemporary arts cluster.

The entrance to the Gillman Barracks arts cluster. 

The lush green area was the site of a former military camp opened by the colonial authorities in 1936 in preparation for the Pacific War. The fourteen buildings comprising the garrison were taken over by the Singapore Armed Forces in 1971. For some years, Gillman Camp (as it was formerly called) housed the Headquarters, Singapore Combat Engineers (HQ, SCE). In 2010 the site was launched as the Gillman Barracks arts cluster in 2010.

Along with Singapore's iconic Esplanade Theatres on the Bay, which opened in 2002, Gillman Barracks adds a new dimension to the country's arts scene. Given the predominance of performing arts at the Esplanade's theater and concert halls, Gillman Barracks filled a void by providing scope for the growth of Singapore's visual arts scene.

A view of the Esplanade Theatres on the Bay along with the Marina Bay area.

Today, the conserved military barracks buildings house seventeen local and international art galleries, restaurants and the Nanyang Technological University's Centre for Contemporary Art (CCA).

The CCA brings not only an 'academic flair' to the area but, from time to time, also brings internationally acclaimed exhibitions. Most recently, the Guggenheim's 'No Country: Contemporary Art for South and Southeast Asia' (an exhibition for which I was trained by Guggenheim to act as a docent) visited Singapore courtesy of the CCA.

GB's galleries display a diverse range of art styles and pieces in exhibitions which are continuously refreshed. Along with Singapore centric galleries such as Fost and Yeo Workshop there are regional (e.g. Shanghai Art and Equator Art Projects) and international galleries (e.g. Partners & Mucciaccia and Arndt).

To experience a Singapore far from the shopping at Orchard Road or the bars at Clarke Quay, Gillman Barracks is the perfect venue. Art appreciation, history and greenery all blended into one serving!

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Imran is a licensed Singapore Tour Guide with a special interest in arts and history. If you wish to arrange customized tours in Singapore, including walking tours of Singapore's arts trails along the Singapore River, Orchard Road, Marina Barrage, etc. please contact Imran at imran.ahmed.sg@gmail.com.