Return to flip book view

BIBLIOASIA JUL SEP 2017 Singaporeans have always had a morbid fascination with the supernatural Ng Yi Sheng examines the culture of horror in our oral folklore books and films i In 2016 I was asked to speak at a Singapore Writers Festival panel discussion titled SG HORROR Who s Afraid of the Dark This surprised me since I had never identified myself as a horror writer Nor had my two co panellists Audrey Chin and Jon Gresham The very purpose of the event was apparently to ponder why there are so few horror writers in Singapore Frankly this infuriated me The panel s premise was absurd not only does Singapore have a plethora of horror writers we also have a rich and layered culture of horror that has been interpreted by a diverse range of storytellers over the centuries I cobbled together a hastily researched lecture on the subject Additionally I invited a real life horror writer to join the discussion Raymus Chang author of the short story collection Shadows from Here Tales of Terror 2016 That lecture forms the basis of this essay an exploration of Singapore s horror heritage over the ages Certain gaps remain I ve been unable to gather much data on the history of horror in radio and non English literature for instance Nevertheless it is possible to sketch a Ng Yi Sheng is a poet fictionist playwright and journalist His books include his debut poetry collection last boy which won the Singapore Literature Prize in 2008 the bestselling SQ21 Singapore Queers in the 21st Century the movie novelisation Eating Air and the spoken word collection Loud Poems for a Very Obliging Audience He tweets and Instagrams at yishkabob 04 timeline that helps us understand the roots of Singaporean horror how it has evolved and where it is headed in the future Folk Horror 1810s 1940s The very beginnings of modern Singaporean history are tinged with horror In 1819 shortly after Singapore was established as a British trading post Stamford Raffles called for an expedition to climb Fort Canning Hill then called Bukit Larangan which means The Forbidden Hill in Malay When the Temenggong s men warned him that none of us have the courage to go up that hill because there are many ghosts on it Every day one can hear on it sounds as of hundreds of men Sometimes one hears the sound of heavy drums and of people shouting Raffles was reported

Vol 13 Issue 02 Feature to have scoffed saying I should like to see your ghosts 1 Other settlers who soon arrived on the island brought their supernatural traditions with them tales of yau gwee hungry ghosts in Hokkien from China hantu ghost in Malay from the Malay Archipelago mohini vengeful female spirits from the Indian subcontinent and jinn spirits from the Arab world These immigrant beliefs soon took root in the local landscape For instance in 1843 it was reported that the Chinese living in the Tanglin area especially feared tiger attacks as they believed victims would become the ghostly slaves of these animals 2 In 1856 it was rumoured that St Andrew s Cathedral had been overrun by evil spirits Gossipmongers claimed that these vicious spirits could only be pacified with sacrifices of human heads and that the British were ordering Indian convicts to harvest them from hapless passers by 3 Colonialism brought with it a wave of British ethnographers with Singapore featuring as a popular port of call in their surveys of the greater Malay world Descriptions of hantu and bomoh Malay shamans abound in their writings such as John Turnbull Thomson s Glimpses into Life in Malayan Lands 1864 Frank Swettenham s Malay Sketches 1895 and Walter Skeat s Malay Magic 1900 These works provide valuable insights into the early folk beliefs of the Malay community By the early 20th century it was evident that horror was becoming the stuff of mass entertainment In 1923 when New World amusement park opened in Jalan Besar it featured a highly popular ghost train ride through a darkened enclosure filled with ghoulish images Great World park in Kim Seng Road would follow suit in 1929 with a similar ride Though both have since been demolished old photographs suggest that the train rides featured images of ghosts and demons inspired by Chinese folklore 4 Thankfully one splendid artefact of early Chinese horror still survives in Pasir Panjang the Ten Courts of Hell in Haw Par Villa built in 1937 and originally known as Tiger Balm Gardens Visitors today can still wander among garishly painted dioramas of naked souls being tortured by demons in the afterlife Malayan Horror 1950s 1970s At midnight on 27 April 1957 Cathay Keris Productions premiered a film that would forever be etched into the Singaporean psyche Titled Pontianak it told the story of the eponymous pontianak the infamous long haired female vampire from Malay mythology Traditionally this creature is said to be the vengeful spirit of a woman who had died during childbirth However the film took liberties with the source ma Facing page An illustration of Hantu Puteri Ghost Princess by A F Anthony All rights reserved McHugh J N 1959 Hantu Hantu An Account of Ghost Belief in Modern Malaya 2nd edition p 45 Singapore Published by Donald Moore for Eastern Universities Press Call no RCLOS 398 3 MAC Right An anchak or sacrificial tray used by the Malay medicine man or bomoh for occult practices The tray has a fringe around it called centipedes feet The ketupat and lepat rice receptacles made of plaited palm fronds are hung from the suspenders attached to the tray All rights reserved Skeat W W 1900 Malay Magic Being an Introduction to the Folklore and Popular Religion of the Malay Peninsula p 414 London Macmillan and Co Collection of the National Library Singapore Accession nos B02930611K B29267256F Below Diorama featuring hapless souls being tortured in the afterlife at Haw Par Villa s Ten Courts of Hell Photo by David Shamma 22 March 2014 Courtesy of Flickr terial reimagining its heroine Chomel as an innocent wife who becomes a homicidal monster due to a powerful curse Pontianak was a massive success screening in major cinemas for almost two months an unusually long period for homegrown films of the era Although Pontianak is remembered as a Malay film in the popular imagination it was in fact a multiethnic collaboration directed by B N Rao written by Abdul Razak and produced by Ho Ah Loke The film was initially released in both Malay and Mandarin and later dubbed into Cantonese and English for overseas audiences As a result the pontianak tale is fondly remembered by people of all races in Malaysia and Singapore The film marked the birth of Malay horror as a film genre To capitalise on the film s success Rao directed three sequels in quick succession Dendam Pontianak Revenge of the Pontianak in 1957 Sumpah Pontianak Curse of the Pontianak in 1958 and Pontianak Gua Musang The Vampire of the Civet Cat Cave in 1964 Cathay Keris main rival Shaw Brothers responded with its own trilogy directed by Ramon Estella from the Philippines Anak Pontianak Son of the Pontianak in 1958 Pontianak Kembali The Pontianak Returns in 1963 and Pusaka Pontianak The Pontianak Legacy in 1965 Other ghoulish monsters from Malay folklore also made their way to the silver 05

BIBLIOASIA JUL SEP 2017 Maria Menado as the pontianak a female vampire from Malay mythology in B N Rao s 1957 Dendam Pontianak Dendam Pontianak Directed by B Narayan Rao and produced by Cathay Keris Films 1957 screen K M Basker s Hantu Jerangkung 1957 dealt with a female skeleton ghost L Krishan s Orang Minyak Serangan Orang Minyak and Sumpah Orang Minyak all released in 1958 featured a supernatural oily man who sexually assaults women memorably played by a young P Ramlee in Sumpah Orang Minyak There was even a horror themed comedy film Mat Sentol s Mat Toyol 1969 featuring a toyol a child sized spirit used by a Malay shaman as a servant Interestingly this deluge of horror began in 1957 the same year the Federation of Malaya Independence Act took effect Were people really so anxious about self governance or saw it as a kind of existential horror that they suddenly thought of ghosts and demons asks Malaysian filmmaker Amir Muhammad I doubt if they were that morbid I think the horror genre is a sign of confidence because it s a bold step to take stories that had existed only orally and then use technology to bring them to life It s an assertion of narrative and cultural independence 5 Amir is in fact mistaken in his assertion that Malay ghost stories existed only in oral form before Pontianak was produced A brief flowering of horror fiction had taken place from 1952 to 1956 thanks to two men who would later become key politicians These men were the future President of Singapore Yusof bin Ishak and the future Cabinet Minister Othman Wok then employed as a journalist at the 06 Malay newspaper Utusan Melayu Malays just love stories like these and Yusof Ishak asked me to write one every week for the Sunday edition called Utusan Zaman Othman later recalled Sure enough the circulation almost tripled 6 These tales later published in English under the title Malayan Horror display a remarkably contemporary view of the supernatural as characters from modern times are confronted not only by Malay spectres but also by those from other cultures In The Anklets a mortuary doctor sees the disembodied feet of a murdered Indian woman in Visitor from the Coffin a photographer snaps photographs of the ghost of a Chinese grocer and in The Guardian an archaeologist s assistant is hunted down by a Dayak mummy 7 The Malayan horror craze may have influenced the English literary horror scene as well J N McHugh s study of Malay spirits Hantu Hantu An Account of Ghost Belief in Modern Malaya 1959 is essentially an ethnographic work yet its illustrations and accessible style have made it a cult favourite among nonacademic readers in Singapore Likewise there is Malay supernatural imagery aplenty in Gregory Nalpon s work regardless that he was an Indian Catholic in short stories such as The Spirit of the Moon and The Mango Tree written between the 1950s and 70s and later published in his posthumous collection The Wayang at Eight Milestone Critics have suggested that such works may be regarded as examples of an early postcolonial Singapore gothic 8 Sadly following Singapore s expulsion from Malaysia in 1965 local culture underwent a radical change Singapore lost its position as the hub of the Malay film industry and Shaw and Cathay Keris moved their operations to Kuala Lumpur With the lingua franca of Singapore shifting from Malay to English Singapore was no longer the centre of Malay cultural production The age of Malayan horror had come to an end Singaporean Horror 1980s early 2000s Today Catherine Lim is widely known as the author of social realist short stories and feminist novels Yet I believe she has another more obscure role in our literary history as the Mother of Singaporean Horror In her early writings Lim documents the influence of the Chinese spiritual world on the psyche of modern Singaporeans This helped to lay the groundwork for the rebirth of our horror culture and its transformation from a specifically Malay milieu to a multiethnic one Lim first referenced the uncanny in her short story collection Or Else the Lightning God and Other Stories 1980 with subtle mentions of hauntings in Unseeing The Bondmaid and Or Else the Lightning God She followed this with They Do Return But Gently Lead Them Back 1983 possibly Singapore s first English language collection of horror sto

Vol 13 Issue 02 Feature ries These tales range from ethnographic descriptions of traditional lore to more contemporary yarns For instance A Boy Named Ah Mooi explains how sons may be protected from demons by disguising them as girls while Lee Geok Chan describes how a dead student mysteriously returns to complete her A Level exams Did Lim s books directly lead to a boom in local horror It is hard to say as later horror writers do not cite her as an influence Nevertheless by the late 1980s countless volumes of ghost stories were flying off the presses including Nicky Moey s Sing a Song of Suspense 1988 Goh Sin Tub s Ghosts of Singapore 1990 Lim Thean Soo s Eleven Bizarre Tales 1990 Z Y Moo s The Weird Diary of Walter Woo 1990 K K Seet s Death Rites 1990 Lee Kok Liang s Death is a Ceremony and Other Short Stories 1992 Rahmad bin Badri s Ghostly Tales from Singapore 1993 and V Mohan s Spooky Tales from Singapore 1994 There was even a horror comic series Souls 1989 1995 edited by K Ramesh and Ramesh Kula Undoubtedly the biggest name of the era was Russell Lee In 1989 he released The Almost Complete Collection of True Singapore Ghost Stories a compilation of 50 supposedly real life accounts of paranormal encounters gathered from ordinary Singaporeans It was a major hit selling an unprecedented 30 000 copies in just over two months 9 Lee cashed in on his success by transforming the standalone book into a series Today True Singapore Ghost Stories 1989 present comprises 25 volumes with the author aiming to reach Book 50 within his lifetime 10 True Singapore Ghost Stories may be pulp literature but it is also thoroughly representative of Singapore s diversity Its spirits hail from a range of cultural backgrounds readers are transported from a tale of a pontianak in a banana tree to one of demon possession in a church 11 Occasionally hauntings even cross ethnic lines such as when a Chinese boy is cursed by a Javanese bracelet 12 From Book 4 onwards these accounts are interspersed with chapters titled Russell Lee Investigates expounding on the afterlife in world religions beliefs about vampires cults UFO sightings and other topics arguably a form of transcultural education Interestingly Lee himself is an enigmatic and racially ambiguous figure to protect his anonymity he has routinely appeared at events in a black mask and gloves obscuring even the colour of his skin Another prolific author is Pugalenthii aka Pugalenthi Sr founder of the publish ing company VJ Times While editing the horror anthology Black Powers 1991 he decided to write a few stories himself This marked the beginning of a formidable literary career he now has dozens of titles to his name including Evil Eyes 1992 Rakasa 1995 and the Nightmares series 1996 2003 a collection of ghost stories exploring various haunted locales in Singapore including schools hospitals army camps and offices According to the author this last series was so popular it was used in Malaysia as an English teaching resource 13 The most skilled Singaporean horror writer of the period however is probably the late Damien Sin The four volumes of his Classic Singapore Horror Stories series 1992 2003 belong to the genre of horror but display a firm command of plot and character as well as a deft hand in describing Singapore s sordid underbelly What stays with the reader however is the bloodcurdling viscerality of his tales such as Sealed with a Kiss in which the ghost of a sex worker literally rips out the heart of her pimp with her tongue Amidst these spooky tales the genre of crime horror also flourished In 1981 Singapore was stunned by news reports revealing that a spirit medium named Adrian Lim and his two wives had murdered two children in a bizarre act of human sacrifice This atrocity provoked writers to create a number of popular nonfiction works about local crime such as N G Kutty s Adrian Lim s Beastly Killings 1989 Alan John s Unholy Trinity 1989 and Sumiko Tan s True Crime 1990 These texts are important because they are linked to the rebirth of Singapore s Below An illustration from the story Suffer the Children in Damien Sin s Classic Singapore Horror Stories Book 1 All rights reserved Sin D 1992 Classic Singapore Horror Stories p 74 Singapore Flame of the Forest Call no RSING S823 SIN Bottom Damien Sin has published four volumes of his Classic Singapore Horror Stories while Russell Lee s True Singapore Ghost Stories is already into its 25th volume Both series are huge hits with horror fans in Singapore All rights reserved Angsana Books 07

BIBLIOASIA JUL SEP 2017 Below Incredible Tales an anthology series based on local horror narratives was screened on Mediacorp s Channel 5 from 2005 to 2013 Courtesy of Mediacorp Bottom Film still and movie poster from Kelvin Tong s The Maid 2006 The film is about a newly arrived Filipino domestic worker in Singapore who encounters supernatural forces during the Chinese seventh lunar month Courtesy of Mediacorp 5 produced Shiver 1997 an anthology series patterned after the Western classic The Twilight Zone featuring bizarre plots about time travel and werewolves Homegrown horror would eventually take over the small screen too with Channel 5 s Incredible Tales 2005 2013 an anthology series based on local horror narratives Mediacorp would also commission Esan Sivalingam s TV movie Pulau Hantu 2008 which tackled ghost stories in army camps Interestingly Mediacorp writers of the 1990s had unwittingly foreseen a future trend in our horror scene Singaporeans had a longing to be haunted not only by their own ghosts but also by the spectres of foreign lands Cosmopolitan Horror 2000s present horror cinema which had been dormant since the 1960s It would take almost 25 years before the first Singaporean fulllength horror movie in English would be released locally This was Arthur Smith s Medium Rare 1991 inspired by the Adrian Lim murders Six years later another cine matic version of the infamous murders appeared Hugo Ng s God or Dog 1997 Around the same time Eric Khoo s violent drama Mee Pok Man 1995 featured a script written by horror author Damien Sin a very loose retelling of his short story One Last Cold Kiss Supernatural horror found its way back into cinema soon after Fittingly the first work in this new wave of films was a tribute to the classic Malay horror movie Djinn Ong s Return to Pontianak 2001 in which a team of trekkers encounters a 08 pontianak in an abandoned village Kelvin Tong chose to explore Chinese horror in The Maid 2006 depicting the ordeals of a Filipina domestic worker during the Hungry Ghost Festival Even horror comedy made a comeback with works like Tong s Men in White 2007 and Jack Neo and Boris Boo s Where Got Ghost 2009 Television likewise embraced horror elements in its programming even as Mediacorp s early shows were inspired more by foreign horror traditions than our own For instance Channel 8 created Immortal Love 1997 a soap opera about 19th century Singaporeans being transformed into jiangshi or Chinese vampires creatures made famous by Hong Kong films rather than local folklore At the same time Channel In 2009 a new best selling Singaporean horror series hit the shelves marketed specifically at children The Mr Midnight series 2009 present is the work of James Lee the pen name of Jim Aitchison author of the raunchy Sarong Party Girl comic books 1994 96 as well as the lyrics of the National Day songs One People One Nation One Singapore 1990 and The Singapore Story 1998 Surprisingly the 109 volumes of Mr Midnight display few hallmarks of local horror The protagonists may be Singaporean children but their paranormal foes are the stuff of Hollywood Egyptian mummies killer clowns murderous robots haunted pumpkins monstrous Santa Clauses and the like One could claim this is due to Aitchison s Australian origins Yet the truth is a number of recent Singaporean storytellers too have embraced Hollywood horror in their creations S M De Silva s Blood on the Moon 2010 describes a young Singaporean s voyage to a city full of vampires and werewolves Nicholas Yong s Land of the Meat Munchers 2013 and Ryan Loh s Dead Singapura 2016 envision our city in the midst of a zombie apocalypse Angie Child s The Regenerator 2015 deals with alien invaders in the future the 23rd century no less Among filmmakers even Kelvin Tong once so obsessed with Chinese ghosts has now turned his sights to the West His latest movie The Faith of Anna Waters 2016 deals with an American family in Singapore confronting a Christian style demonic suicide cult A more complicated set of cultural issues surrounds Gilbert Chan s 23 59 2011 and Ghost Child 2013 These two films draw on the classic local tropes of army camp ghost stories

Vol 13 Issue 02 Feature and toyol hauntings respectively Yet both films feature all Chinese casts an offensive act of erasure given the original ethnic roots of these tales So are we in danger of losing our horror heritage Probably not There are still plenty of publications featuring local spooks including Andrew Lim s Tales from the Kopitiam series 2008 09 Verena Tay s Spectre 2012 and the Spooked in Singapore series 2014 15 ostensibly written by the team of exorcists from Ghostbuster Singapore The most ambitious of these books is probably Sandi Tan s The Black Isle 2012 The novel retells the story of Singapore through the eyes of the spirit medium Cassandra who exerts her dark influence on the island throughout its history from the time of British colonialism and the Japanese Occupation to the Communist Emergency Konfrontasi and Independence Otto Fong s Bitter Suites 2013 is noteworthy for both its originality and its gore it features a curse on social media condemning its victims to suffer the tortures of Chinese hell as depicted in Haw Par Villa Younger readers may prefer Zed Yeo s Half Ghost 2016 about a half human half vampire boy named Nail who battles a pontianak in the underworld Also of interest is Nuraliah Norasid s The Gatekeeper 2017 winner of the Epigram Books Fiction Prize The author cunningly combines the Medusa Greek mythology with Malay legends yielding the tale of Ria a serpent haired girl who communes with jungle spirits Ultimately we may be able to sustain a horror culture that balances foreign and local monsters To fathom this one need only consider the phenomenon of Universal Studios Singapore s Halloween Horror Nights an annual festival of horror held since 2011 As might be expected of an American owned entity the event features actors playing creepy characters straight out of Hollywood vampires aliens witches serial killers and clowns Interspersed with these are a few scares inspired by non American cultures Chinese fox fairies Japan s Suicide Forest and the Mexican Day of the Dead However amidst these imported ghouls are refreshingly local elements Visitors witness zombie outbreaks in HDB blocks and hawker centres they walk into recreations of Chinese funerals Malay graveyards World War II hospitals army camps and MRT tracks and they encounter familiar phantoms from our multiethnic culture the hungry ghost the toyol and the pontianak Perhaps the last word on our horror heritage should go to Alfian Sa at As an author who once scorned works like True Singapore Ghost Stories he now confesses a new found respect for these writings as a form of national literature the oral folklores of multiple races meshing as one teaching us superstitions and taboos from each other s cultures and traditions One does not need to be Malay to know what a Pontianak is One does not have to believe in any religion to entertain the possibility of demonic possession One does not have to be a Taoist to know that it is somewhat taboo to mess around with Hungry Ghost offerings T his circulation and borrowing of beliefs was hardly self conscious and a demonstration of a kind of grassroots interculturalism If multiculturalism is about respecting other people s beliefs interculturalism goes further to the point of adopting these beliefs Even if this was about hedging bets against the spiritual world Hantulah Singapura 14 Universal Studios Singapore s Halloween Horror Nights is an annual festival of horror held since 2011 The event features actors playing creepy characters straight out of Hollywood vampires aliens witches serial killers and clowns Interspersed with these are a few scares inspired by non American cultures such as Chinese fox fairies Japan s Suicide Forest and the Mexican Day of the Dead Courtesy of Dejiki com Notes 1 Abdullah Abdul Kadir 2009 The Hikayat Abdullah A H Hill Trans p 146 Kuala Lumpur The Malaysian Branch of the Royal Asiatic Society Call no RSEA 959 5 ABD Note Abdullah claims that Colonel William Farquhar organised the expedition later historians establish that it was almost certainly Raffles See Hahn E 1968 Raffles of Singapore pp 463 464 London Oxford University Press Kula Lumpur University of Malaya Press Call no RSING 959 570210924 RAF H HIS 2 Tigers 1843 October 26 The Singapore Free Press and Mercantile Advertiser p 2 Retrieved from NewspaperSG 3 Buckley C B 1984 An anecdotal history of old times in Singapore 1819 1867 pp 575 576 Singapore Oxford University Press Call no RSING 959 57 BUS HIS 4 Singapore Press Holdings 1953 February 19 Round up of the three amusement parks New World Happy World Great World This monster is one of the thrills of the Ghost Ride in the amusement park Photograph Retrieved from National Archives of Singapore website 5 Amir Muhammad 2010 120 Malay movies p 14 Petaling Jaya Matahari Books Call no RSEA 791 430899923 AMI ART 6 Chandy G 2000 April 23 Once an MP now he s a JC The New Paper p 4 Retrieved from NewspaperSG 7 Othman Wok 1991 Malayan horror Macabre tales of Singapore and Malaysia in the 50 s Singapore Heinemann Asia Call no RSING S899 2305 OTH 8 Whitehead A 2013 Introduction to The Wayang at Eight Milestone Stories essays by Gregory Nalpon p xvii Singapore Epigram Books Not available in NLB holdings 9 A runaway bestseller 1989 December 6 The Straits Times p 4 Retrieved from NewspaperSG 10 Sukmawati Umar 2015 October 9 Inspiring chills at Halloween Horror Nights The New Paper Retrieved from The New Paper website 11 Lee R 1992 The almost complete collection of true Singapore ghost stories Book 2 pp 20 23 Singapore Flame of the Forest Call no RSING LEE 12 Lee R 1994 The almost complete collection of true Singapore ghost stories Book 3 pp 19 22 Singapore Angsana Books Call no RSING LEE 13 Interview with Pugalenthii 25 March 2017 14 Alfian Sa at 2017 January 19 Some thoughts which I shared at last night s forum on Singapore literature paraphrased and expanded Retrieved from Facebook 09