By Wong Kah Wei
Wilfred J. Plumbe was an Assistant Librarian at University of Malaya (Singapore) from 1953 to 1956 (University of Malaya Library, 1955) and later, Librarian of University of Malaya in Kuala Lumpur from 1959 to 1962. In his book The Golden pagoda tree: Adventures in Southeast Asia, Plumbe described his experiences and travels in Singapore, Malaya and Thailand. But I was interested to read about his personal experiences as a librarian of our university before Independence. In addition to fascinating accounts of library work and the people he befriended, Plumbe also wrote about The Singapore Artist, a journal of the Singapore Art Society. Plumbe edited the journal for three years starting with the first issue in September 1954 and ending with Issue 3 dated 1955. NUS Libraries has these three issues of The Singapore Artist in our collection.
Plumbe was passionate about art and wrote extensively about various art societies and artists in Singapore during the 1950s. These included the Society of Chinese Artists in 1935, the multi-racial YMCA Art Club in 1936 and after Word War 2, a Malay Art Society, the Chinese YMCA Art Club and the Singapore Art Society which was formed in 1949.
Plumbe wanted to learn how to draw and paint and decided to join the Singapore Art Society. As there were no tuition classes, Plumbe tried drawing from life models, guided by members of the society who were both amateurs and artists. Getting models to pose for life drawing classes was a challenge but Plumbe took initiative to help, eventually making it a regular arrangement for the society. Plumbe further contributed to the society by suggesting the need for a magazine or journal for the society. Thus, The Singapore Artist was published with Plumbe as the editor for all the three issues.
In the first issue of The Singapore Artist published in September 1954, Ho Kok Hoe, Chairman of Singapore Art Society, wrote about the purpose of the journal. It was “to consolidate local interest in the arts.” This was done by inviting local artists “to present their views on art to the general public” because “it is hoped that the general public will look to the journal for original articles by and about local artists, and also criticism, news and announcements concerning art activities in Singapore”. The journal covers drawing, painting, engraving, design, sculpture, ceramics, photography, architecture and also Malayan arts and crafts. There were also announcements on life classes at British Council, art exhibitions and outdoor sketching parties to Chinatown, Kampong Bugis, Loyang Village and so on.
There was one particular article written by C.G. Jackson which intrigued me. Jackson, President of YMCA Art Club, was interned in the Sime Camp during the Japanese Occupation in 1945. He discovered a new method of etching – wax etching. In his article published in the first issue, Jackson detailed how he experimented with the wax paper which wrapped the parcels of food and cigarettes distributed by the Red Cross. To etch the wax paper, Jackson tried using various sharp metal bits such as a rusty nail but finally, found a gramophone needle which he mounted on a holder. The article is illuminating, providing step-by-step instructions to wax etching. What fascinated me was the spirit of discovery he sustained despite enduring wartime incarceration. A black and white reproduction of Jackson’s wax etching of a bearded man is given on Page 17 of the first issue. There is no indication when the etching was produced. I can only imagine how the original piece would look like. Nevertheless, the etching reproduced in the journal suggests that the original would have been a testament to Jackson’s skill and talent.
In addition to articles about artists such as Cheong Soo Pieng and Liu Kang, there is an article of two young artists, Khoo Yun Thong and See Tho Chee Kong, who got themselves a studio in a corner of a large thatched building, at the back of Kampong Bukit Ho Swee (see Pages 10-15 of Vol.1, No.2, December 1954). The studio was about 14 feet by 11 feet. They did not have any electricity and worked with oil lamps. But what Plumbe found “remarkable” was that the two artists published four books of their paper-cut designs showing daily life in Singapore and Malaya. They produced 64 designs of people, animals, flowers and kampong scenes with the aim to encourage schools to adopt and popularise the folk art. The series of four volumes is entitled Nanyang Paper-Cutting and Teaching Materials and each volume is graded from 1 to 4 according to level of difficulty.
Another significant article was written by Michael Sullivan providing us with his thoughts and aspirations for the University of Malaya Art Museum. Sullivan was a lecturer at University of Malaya and taught a two-year History of Art course in 1955. He was also the founding curator of the University of Malaya Art Museum which was established in 1955 (Sabapathy, 2016). In the article published in Vol.1, No.3, March 1955, Page 3-12, Sullivan wrote about the necessity for art to be part of our lives. With the two-year course on History of Art, Sullivan hoped to “awaken in our minds a true realisation of what art is”. Sullivan also envisaged for art to play “a real part in the life of the University”. There should be an environment for the student to learn from curriculum but also to have “a spiritual and emotional experience that will help bring meaning and illumination into the rest of his life”. To achieve this, Sullivan expressed the need for a good art library where students could refer to “an extensive collection of photographs and reproductions”. But to enhance learning, nothing replaces the art work itself. Thus, this being one reason, the University decided to establish an Art Museum. As the founding curator, Sullivan conceived that the museum to be located on the upper floor of the University Library although he had hoped that museum would be a building of its own in the future. In 1956, the University of Malaya Art Museum opened in a small gallery within the University Library building (University of Malaya Art Museum, 1959). Sullivan had also requested the Librarian of the Main Library of University of Malaya to transfer some Art books to the new Exhibition Gallery for “use in seminars” (University of Malaya, 7 November 1955).
In the first guidebook of the museum, Sullivan outlined some of the purposes of the Art Museum which were “to give the University a centre for the study and the enjoyment of art, to provide a background for the two-year course in History of Art…” (University of Malaya Art Museum, 1959). Thus, the University of Malaya Art Museum was not just to exhibit art works but also for the art works to be a teaching collection.
After the publication of these three issues of The Singapore Artist, the journal changed its title to The Malayan Artist. Although only three issues were published, The Singapore Artist offers a glimpse into the artistic interests and activities of artists in Singapore during the 1950s—an initiative started by a librarian of the University of Malaya Library.
References
Plumbe, W. J. (1990). The golden pagoda tree: adventures in Southeast Asia. Grey Seal.
Sabapathy, T. K. (2016). About Michael Sullivan: anniversary lecture by T.K. Sabapathy. NUS Art Museum.
University of Malaya Art Museum (1959). University of Malaya Art Museum. University of Malaya (Singapore), Art Museum.
University of Malaya Library (1955). [Library Committee report, dated 7th November 1955]. Unpublished.
