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An attempt at analysing The Merlion
Tuesday, March 26, 2013 | 7:44 PM | 0 comments

Amidst the treasure trove of Singaporean literary works, the Merlion appears to be a metaphorical magnet, attracting the attention of Singaporean writers. Such writers as Edwin Thumboo (Ulysses by the Merlion), Alvin Pang (Merlign), Lee Tzu Pheng (The Merlion to Ulysses) and of course, Alfian Sa’at (The Merlion) and other writers have written poems about this creature.

In Alfian Sa’at’s poem about the Merlion, the theme of identity is present throughout the poem. This is presented through a conversation between two characters discussing about the Merlion. Their comments and thoughts about the creature question the authenticity of the Merlion as a Singaporean icon. For example, one of them mentions that she wished the Merlion had paws, so that it would be more mobile on land and in water. This pokes fun at how it is possible for us to "customize" the Merlion to suit our "needs". This points out the artificiality of the Merlion icon, as it was initially conceived by the Singapore Tourism Board to be a “national symbol”. However, the Merlion was actually created to serve an economic function, i.e. to bring in tourism dollars. Therefore, rather than representing national identity, it has provoked scrutiny and criticisms from Singaporean writers. These criticisms and skepticism can be seen in the poem as depicted in the conversation between the characters in the poem.

The character also questioned where exactly the Merlion’s home is. This is a question that Singaporeans ask with regard to themselves, due to increasing globalization and the rapid transformation Singapore has undergone over a short period of time. The poem mentioned the idea of abandonment, which also draws a parallel to migration. This is applicable to Singapore society which consists of a predominant migrant population. The idea of abandonment is relevant in today’s context as many Singaporeans choose to leave the country and migrate to other places; for example, Australia. Abandonment could also refer to abandoning our cultural identity. This can be seen from how Singapore’s culture has been adulterated by Western influences, for example in education and media etc. Therefore, this has led to questions about what exactly is the Singaporean identity, which we are still searching for.

The theme of identity in the poem also refers to the identity confusion faced by Singaporeans. This idea can be seen from the poem where it was mentioned that even though the Merlion is supposedly a creature of the sea, it exists on land. This mirrors the identity confusion faced by Singaporeans. One of the characters in the poem is described to be a “victim” of Western influences. This can be seen from the vivid character description, such as “blond highlights in your black hair”, “blue lenses the shadow of a foreign sky” and “acquired accent of yours”.

In conclusion, this poem is an interesting read as it is still relevant to today’s context. Even as Singapore and Singaporeans continue to search for that elusive Singaporean identity, I believe that reading such Singaporean poems and works may perhaps open the right door that leads us to it.

References:

http://infopedia.nl.sg/articles/SIP_938_2004-12-27.html

http://www.postcolonialweb.org/singapore/literature/poetry/saat/merlion.html

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The Merlion by Alfian Sa'at
Monday, March 25, 2013 | 3:50 PM | 0 comments
(from: http://www.postcolonialweb.org/singapore/literature/poetry/saat/merlion.html)

The Merlion

Alfian Bin Sa'at

"I wish it had paws," you said,
"It's quite grotesque the way it is,
you know, limbless; can you
imagine it writhing in the water,
like some post-Chernobyl nightmare?
I mean, how does it move? Like a
torpedo? Or does it shoulder itself
against the currents, gnashing with frustration,
its furious mane bleached
the colour of a drowned sun?
But take a second look at it,
how it is poised so terrestrially,
marooned on this rough shore,
as if unsure of its rightful
harbour. Could it be that,
having taken to this unaccustomed limpidity,
it has decided to abandon the seaweed-haunted
depths for land? Perhaps it is even ashamed
(But what a bold front!)
to have been a creature of the sea; look at how
it tries to purge itself of its aquatic ancestry,
in this ceaseless torrent of denial, draining
the body of rivers of histories, lymphatic memories.
What a riddle, this lesser brother of the Sphinx.
What sibling polarity, how its sister's lips are sealed
with self-knowledge and how its own jaws
clamp open in self-doubt, still
surprised after all these years." 

"Yet...what brand new sun can dry
the iridescent slime from the scales
and what fresh rain wash the sting of salt
from those chalk-blind eyes?" 

A pause.

"And why does it keep spewing that way?
I mean, you know, I mean..." 

"I know exactly what you mean," I said,
Eyeing the blond highlights in your black hair
And your blue lenses the shadow of a foreign sky.
It spews continually if only to ruffle
its own reflection in the water; such reminders
will only scare a creature so eager to reinvent itself."

Another pause. 

"Yes," you finally replied, in that acquired accent of yours,
"Well, yes, but I still do wish it had paws."

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Interesting YouTube finds on Alfian Sa'at
Tuesday, March 19, 2013 | 2:37 PM | 0 comments
Searching "Alfian Sa'at" yields some interesting findings on YouTube. Listed below are some interesting videos that feature the works of Alfian Sa'at!

1. A reading from one of his short stories, Malay Sketches



2. An interview with Alfian about Nadirah, which is a play that touches on religion


3. A video montage of images that depict what is written in Void Deck


Void Deck

Alfian Bin Sa'at


Where the neighbourhood wives,
After a morning at the wet market,
Sit facing the breeze
To trade snatches of gossip
About leery shopkeepers,
The local louts,
(Like that fella who's always drilling his walls –
Gives me migraine)
And that mad woman
Who throws things from her window.
With careful put-downs they 
Fashion boasts, about stubborn sons,
Lazy daughters, who by some miracle or mistake
Always score well in class.
When words falter,
Gestures take over: pursed lips, rolling eyes,
Animated hands adorned by bangles of
Gold, jade, steel, string.

And children orbit around them
Laugh without diction –
Their games of tag a reassurance
That there has been no hothousing 
Of who is unclean, unwashed,
Untouchable. When they break out
Into some kindergarten song,
One almost believes in a generation
Cleansed of skin-deep suspicions, 
And free from the superstitions of the tongue –

And old folks sit like sages 
To deploy chess pieces with ancient strategies.
In a corner, a caged bird bursts 
With the song of its master's pride
And wrinkled women breathe, through
Tai-chi-tuned windpipes, the operatic melody of the air...

All a wanton fantasy.

Eyes reveal a meeting-point
For loners and loiterers:
A sense of things reduced-
Conversations that trickle through
Brief noddings at lift landings,
Teenage rhetoric scrawled, in liquid paper,
On the stone-table chessboard,
(Where the king used to sit)
The grandiose house-selling dreams of residents
Compacted in anonymous letterboxes;
As an afterthought, an old man pees
Under a public phone.

A place to be avoided, this,
How in its vastness it devours hours.
Little wonder then, 
Why residents rush through void decks
Back to the cramped comforts of home
As if in fear of what such open space might do
To cosy minds.


Published in One Fierce Hour (1998)

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Introduction to Alfian Sa'at
Wednesday, March 6, 2013 | 6:28 PM | 0 comments

Alfian Sa'at

(Information from: www.wildrice.com.sg, Writing Singapore: An Historical Anthology of Singapore Literature and wikipedia)



Who is this man?

Born in 18 July 1977, Alfian Sa’at is a Singaporean writer, poet and playwright. He graduated from Raffles Junior College in 1995 and subsequently did not complete his studies at the National University of Singapore's medicine programme.

He is currently a Resident Playwright with W!LD RICE. 

His works:

1. Plays:
  • Black Boards, White Walls (1997)
  • The Optic Trilogy (2001)
  • Cooling Off Day 
  • Homesick 
  • Asian Boys Vol. 1 (2000)
  • Landmarks: Asian Boys Vol. 2 (2004) 
  • Happy Endings: Asian Boys Vol. 3 (2007)
  • Snow White & the Seven Dwarfs
  • Beauty & The Beast

2. Poetry: 
  • One Fierce Hour (1998)
  • A History of Amnesia (2001)
  • The Invisible Manuscript
3. Short Stories:
  • Corridor and other stories (1999)
  • Malay Sketches


 Accolades:


He has been nominated for the Kirayama Asia-Pacific Book Prize and the Singapore Literature Prize for A History of Amnesia.

Alfian has been nominated seven times for Best Script at the Life! Theatre Awards, eventually winning in 2005 for his play, Landmarks, and later in 2010 for his play, Nadirah. He was also the winner of the BOH Cameronian Best Original Book and/or Lyrics Award for The Secret Life Of Nora in Malaysia in 2012.

In 2001, Alfian won the Golden Point Award for Poetry as well as the National Arts Council Young Artist Award for Literature. His plays have been translated into German, Swedish and Danish and have been read and performed in Singapore, Kuala Lumpur, London, Zürich, Hamburg, Munich, Berlin, Copenhagen, Stockholm, Melbourne and Sydney.


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