30/06/2024

Archipelago Brewery since 1933 closes on 30 Jun 2024

Heineken to close Singapore’s Archipelago Brewery
Singapore’s second oldest commercial brewery, Archipelago opened its doors in 1933

Singapore’s Archipelago Brewery is closing down brewing operations. The brewery, owned by Heineken subsidiary Asia Pacific Breweries (APB) Singapore, will continue to operate until June 30.

In a statement sighted by ABN, the brewery shared the closure is due to “evolving craft beer market realities and high operational costs” and that APB’s new strategy is to “streamline our portfolio, maximize value and re-invest in growing our core business”. APB has undergone recent leadership changes, including appointing a new managing director, Reinoud Ottervanger, in August last year.

Singapore’s second oldest commercial brewery, Archipelago opened its doors in 1933 after German investors expanded brewing operations from the then-Dutch Indies to Singapore. The brewery continued to operate during World War II. The Allies first seized it as an enemy asset, and production continued during the Japanese occupation. After the war, regular brewing operations resumed, and Archipleago’s stable of beer brands—Anchor and ABC Stout among them—became popular and widely distributed in Singapore. After the brand was retired in 1990 in favour of Asia Pacific Breweries, Archipelago was revitalised as APB’s craft brewing arm in 2006 by then-Anderson Valley brewmaster Fal Allen and experienced several years of growth in Singapore’s then-nascent craft beer market.


End of an Era: Singapore’s Archipelago Brewery to Close

Archipelago Brewery, a beloved name in  Singapore’s craft beer scene, is set to close its doors at the end of June. The decision to shutter the brewery comes amidst “declining craft beer market realities and high operational costs,” as stated by Asia Pacific Breweries  Singapore.

Singapore’s iconic Archipelago Brewery, a staple in the craft beer industry, will close its doors at the end of June 2024. The decision marks the culmination of 18 years of brewing excellence and innovation.

An APBS spokesperson explained in May: “In line with evolving market realities in the craft beer industry in  Singapore, and after careful consideration on various divestment options over the past months, APBS has made the decision to exit from the craft brewing business and will close Archipelago Brewery at the end of June 2024. While we are proud, and remain grateful of the Archipelago brand journey, unfortunately declining craft beer market realities and high operational costs puts it in an untenable situation. This move is in line with our efforts to streamline our portfolio of beers, maximise value, improve productivity and re-invest in growing our core business to ensure a sustainable business that is fit for the future.”


Trouble brewing for craft beer market as Singapore’s Archipelago bows out
The shutdown of Singapore brewery Archipelago reflects economic struggles in the industry and difficulties appealing to the choosy craft beer customer

Local craft beer brewery Archipelago has fallen victim to what some commentators are calling the “beerpocalypse”. The brand, owned by Asia Pacific Breweries (APB) Singapore, will cease operations at the end of June. For craft beer brewers around the world, these are trying times. In 2023, a staggering 418 breweries in the United States were shuttered, while in Britain, 52 declared insolvency.

Established in 1933, Archipelago is Singapore’s second-oldest brewery, originally situated near Alexandra Brickworks. After the brand lay dormant for many years, in 2006 Archipelago was given a new lease of life as APB’s craft brewing arm. APB produces beers such as Tiger, Anchor and the local licensed version of Heineken. However, APB’s owner Heineken has decided to pull the plug on the artisanal brewery after 18 years, citing a desire to streamline their portfolio amid “declining craft beer market realities and high operational costs”.

These pressures include the toll taken by conflict in Eastern Europe - Ukraine has historically been a major source of wheat and barley, key components in beer - and inflation, driving up the price of everything from ingredients and packaging to shipping. Rising interest rates are also impacting brewers who have borrowed to fund their business or acquire property, while cost-of-living pressures are decreasing demand. With diminished discretionary spending, people are simply going to the bar less, and may find mainstream beer at S$15 (US$11.10) per six-pack more appealing than niche ales costing S$15 per pint or more.


'An end of an era' with Singapore's Archipelago Brewery set to close
The brewery will close at the end of June due to "declining craft beer market realities and high operational costs", Asia Pacific Breweries Singapore told CNA

After 18 years in the craft beer business Singapore's Archipelago Brewery will close its doors at the end of the month. News of the brewery's impending closure first broke at the end of March, with the Asia Brewers Network reporting that Heineken – the owner of Archipelago's parent company Asia Pacific Breweries Singapore (APBS) – had decided that its time was up.

In response to queries from CNA, an APBS spokesperson confirmed the closure. "In line with evolving market realities in the craft beer industry in Singapore, and after careful consideration on various divestment options over the past months, APBS has made the decision to exit from the craft brewing business and will close Archipelago Brewery at the end of June 2024," the spokesperson said in May. "While we are proud, and remain grateful of the Archipelago brand journey, unfortunately declining craft beer market realities and high operational costs puts it in an untenable situation," the spokesperson added.

In response to queries from CNA, an APBS spokesperson confirmed the closure. "In line with evolving market realities in the craft beer industry in Singapore, and after careful consideration on various divestment options over the past months, APBS has made the decision to exit from the craft brewing business and will close Archipelago Brewery at the end of June 2024," the spokesperson said in May. "While we are proud, and remain grateful of the Archipelago brand journey, unfortunately declining craft beer market realities and high operational costs puts it in an untenable situation," the spokesperson added.


Archipelago Brewery
Alcoholic beverage Founded November 1933

The Archipelago Brewery is a Singaporean brewery owned by Heineken Asia Pacific (formerly Asia Pacific Breweries). It labels itself as "Singapore's Craft Brewery".

In August 1931, with a capital of 5,250,000 guilders N.V. Archipel Brouwerij Compagnie (Archipelago Brewery Co.) was formed in Batavia (now known as Jakarta). The board was formed by the firm Geo Wehry & co. This company imported all by Beck brewery in Bremen to brew Koentji (key) beer. The first brewery was built in Batavia, it was made of steel framing, something in the Dutch Indies virtually not been done before. Wehry was a big trading company, started out in the tobacco. Wehry was later merged with Borsumij and then merged into the still existing Hagemeyer that time in the Dutch East Indies was established. Archipelago opened a brewery in Singapore in November 1933, where it produced Anchor Beer.

During World War II, the British deemed the brewery to be enemy territory due to its German ties and seized it in 1941. It was then bought by Malayan Breweries Ltd, which in 1990 was renamed Asia Pacific Breweries. In 2013, Asia Pacific Breweries merged to become Heineken Asia Pacific. Archipelago Brewery is currently Heineken Asia Pacific's craft brewing arm. The old Archipelago Brewery was re-commissioned on 24 July 2006, with internationally acclaimed brewmaster, Fal Allen. Three variants of the Archipelago craft beers, namely Traveller's Wheat, Straits Pale and Traders Brown Ale were launched at Archipelago's flagship pub located on Circular Road in Singapore (now closed). The re-launch of Archipelago is consistent with Heineken Asia Pacific's objectives to add a new dimension to Singapore's beer industry; and to continue to grow its presence and stature locally.


Anchor Beer since 1933
ANCHOR SMOOTH DRAUGHT – REAL BEER FOR REAL MOMENTS

I remember growing up seeing my dad and uncles drinking Anchor Beer, one of the leading choices of beer from one generation to another that has blazing through 84 years of heritage in Malaysia.

Brewed locally with several methods that have evolved with time, ranging from the traditional German pilsner brewing method to the latest advancements in brewing technology, one thing still remains unchanged – the same traditional European recipe for an authentic smooth taste without compromising its quality. “Our commitment to continue offering an unchanging taste that is smooth and refreshing has made Anchor the fastest growing brand with a double digit growth in 2016. This success is a result of the team constantly ensuring the quality remains at its most original form as our brewing methods evolve over the years, while staying connected to our loyal consumers,” said Jessie Chuah, Marketing Manager of Anchor.

Anchor has stayed true to its identity and original taste since it was first introduced and is widely known as “Malaysian favourite since 1933”. In the same light of being real and genuine, the brand will embark on a new campaign called ‘Real Beer for Real Moments’ that is set to inspire Malaysians to celebrate realness with their friends and families.


Tiger Beer since 1932

Tiger Beer is a Singapore brand of beer first launched in 1932. It is currently produced by Heineken Asia Pacific, formerly known as Asia Pacific Breweries. The company is a joint-venture between Heineken N.V. and Singaporean multinational food and beverage company Fraser and Neave.

The Tiger Brewery Tour is a tourist attraction located at the Tuas district of the country, which offers guided visits as to how the beer is brewed. According to a Brand Finance report, Tiger is amongst Singapore's top 10 most valuable brands.

Launched in 1932, Tiger beer became Singapore's first locally brewed beer. It is a 5% abv bottled pale lager. Heineken Asia Pacific's flagship brand, it is available in more than 60 countries worldwide



Guinness stout 'Ang Ji Gao' since 1759
THE STORY OF GUINNESS

It takes a thirst for adventure to do things the Guinness way. From our humble beginnings in 1759 to the present day, we’ve gone to extraordinary lengths to bring you exceptional beer. But we’re not ones to rest on our laurels. As we like to put it: our greatest work is yet to come. At this stage you'd be forgiven the story of ‘Arthur Guinness’ was a myth. But he was very real, and every pint served around the world is one more pint of his undeniable legacy. Arthur Guinness was the first in a long line of Guinness Master Brewers and the craft of brewing at St. James’s Gate Brewery was handed down from generation to generation. Arthur himself most likely developed his passion for brewing from his father, Richard, who was said to be in charge of brewing in the Celbridge estate of Dr. Arthur Price, later Archbishop of Cashel.

On 31st December 1759, the man signed a NINE THOUSAND YEAR lease on St. James’s Gate Brewery in Dublin. If that’s not belief, we don’t know what is. And now we can see that his belief was a vision. A vision he saw before any of us were even born. His entrepreneurial spirit was on another level. Arthur Guinness was a philanthropist, a pragmatist, an innovator, a family man, and a fighter. The terms of the lease granted him use of a limited supply of water, and when Dublin Corporation tried to cut off the supply due to overuse, it’s written that ‘Mr Guinness violently rushed upon them wrenching a pickaxe from one and declaring with very much improper language, that they should not proceed’. You see, signing the lease was one thing. Holding onto it, was another thing altogether. And Arthur was not about to let go during his lifetime. So, the journey continued. More beer was brewed. More jobs created. And more tastebuds tantalised.

If you see the cover of an Irish passport, you’ll see nothing but a Harp. It’s the official national emblem of Ireland. You’ll notice the harp on Irish coins too. In fact, if you see someone tossing a coin in Ireland, you might even hear them call ‘Heads or Harps?’ instead of ‘Heads or Tails.’ The design stems from the15th Century "Brian Boru" harp, a symbol that reflects Irish culture and arts. But it was Guinness that staked a claim on the harp first. By the 1860’s, Guinness stout was available all over the world and the Guinness family were in search of a symbol that would firmly identify Guinness as an Irish product and the harp was recognised as the symbol of all that was great about Irish culture and heritage. Therefore, when the Irish Free State was created in 1922, the Irish government in turn had to position their harp facing the other way due to trademark registration. If you’re looking back at old Guinness memorabilia, you’ll notice that the number of strings on the Guinness Harp varies. That’s because the design became more minimal over the years, losing strings along the way, since it first made its appearance on a Guinness bottle label in 1862.A designer called Gerry Barney was instrumental (excuse the pun) in the Harp’s evolution having re-designed the Harp in 1968, and again in 2005. Cheers, Gerry! And if you’re ever in Dublin, before you pop into the Guinness Storehouse, slip into the Trinity College Library. You can see the real "Brian Boru" harp, sitting unaware of its own history. Or is it?


5 epic things you didn’t know about Ang Ji Gao

Guinness stout, the Irish alcoholic drink also known as ‘Ang Ji Gao’ locally, celebrates its 256th birthday yesterday.

How did Guinness – as ang moh as a name can possibly be – end up with a badass Hokkien moniker in Singapore?

We investigate. Here are five things about stout in Singapore. Cheers:
  • The origins behind its ‘red tongued dog’ nickname
  • It is over 5 times older than Singapore
  • This Commercial - He's a real Guinness drinker
  • It sieves out those that can’t take a little hardship
  • It’s like peanut butter
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29/06/2024

Zhaizhang Village in Jianhe County, Guizhou

Eliminating Poverty in Hope Town

Source:

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28/06/2024

100th Anniversary of Johor-Singapore Causeway

Singapore and Malaysia mark 100 years of the Causeway
100 years of the Johor-Singapore Causeway

This year marks 100 years since the Johor-Singapore Causeway was officially opened.  Stretching just over a kilometre, it is a symbol of close ties, bilateral relations and people-to-people connections. With Singapore and Malaysia expected to further improve connectivity and tighten business links, CNA's Leong Wai Kit looks at how the areas at both ends of the Causeway – Woodlands and Johor Bahru – are keeping up with the momentum.


Historic Causeway turning 100
The Causeway was officially opened on 28 June 1924

A major milestone will be celebrated this Friday with the Causeway marking its 100th year anniversary of its official opening. Local historian Associate Prof Datuk Dr Kassim Thukiman said the Causeway has played a major role in shaping up Johor and Singapore’s social economic development for a century.

He added that in the late 1800’s, Johor was the world’s top producer for gambier, pepper and rubber where the items were sent to Singapore before they were exported to Europe and China. “They were sent to Singapore using small boats across the Johor Straits. The channel then became congested. “In 1917, the British proposed to the Johor government to build a causeway linking Tanjung Puteri, now known as Johor Baru, and Singapore, where the project was approved some two years later,” he said here on Sunday. Kassim added the Johor government paid £15.4mil back then to help construct the Causeway, including the road, which allowed vehicles to transport people and goods.

He said based on historical facts, the Causeway was officially opened on June 28, 1924 by the Federated Malay States high commissioner Sir Lawrence Guillermard. It was witnessed by Johor Ruler Almarhum Sultan Sir Ibrahim Ibni Almarhum Sultan Sir Abu Bakar as well as other Malay Rulers. “The Causeway connects the railway lines from Gemas to Johor Baru, then to Kranji and Keppel near Tanjong Pagar in Singapore. “People travelled along the road network between Johor Baru and Woodlands in the island republic while water was channelled from Gunung Pulai here to Singapore through pipes due to demand coming from there.”


Operation Snip Snip, half-tank rule among historical nuggets in Causeway centenary exhibition
The Causeway was officially opened on 28 Jun1924
 
As part of a 1970s campaign against “hippie culture” and its association with drug use, men with long hair, beards and floral shirts were denied entry into Singapore at the Woodlands Checkpoint. The country’s aversion to men with long hair then led to Operation Snip Snip, which saw long-haired men being refused entry into Singapore. Those who really wanted entry would get a quick haircut in Johor before crossing the Causeway.

This was one of the historical nuggets documented in a new travelling exhibition that marks the centenary of the Causeway, the land link used by more than 300,000 people travelling between Singapore and Malaysia each day. The Causeway: A Century Of Connections exhibition by the National Heritage Board (NHB) was launched by Culture, Community and Youth Minister Edwin Tong and Johor Chief Minister Onn Hafiz Ghazi at Woodlands Civic Centre on June 28. 

Exactly 100 years ago on June 28, the Causeway was officially opened in 1924 by the Straits Settlements governor, Sir Laurence Guillemard, with Sultan Ibrahim of Johor gracing the ceremony. NHB’s exhibition traces the story of how the Causeway came to be and the milestones that followed, including its fate during crises such as World War II and its development alongside the post-war growth of the region. One historical nugget close to the hearts of motorists was the implementation of the “half-tank rule” of 1989. This required Singapore-registered vehicles to have at least half their fuel tanks filled, in a move to curb the Republic’s losses in fuel duties as motorists headed across the Causeway to buy cheaper petrol. This was revised to the “three-quarter tank rule” two years later. 



‘Causeway a symbol of close M’sia-S’pore ties’

The Causeway is more than a bridge linking Singapore and Malaysia, but a symbol of the close relationship between both countries, says state exco member Mohamad Fazli Mohamad Salleh. “With the Causeway coming to its 100th year soon, the anniversary celebration is a sign of the good relationship which exist between the governments of Johor and Singapore,” he said when contacted here yesterday.

Mohamad Fazli, who is also the Bukit Pasir assemblyman, said the Causeway will remain as an important channel to ferry goods and people between both countries. Asked on whether there are plans to upgrade the Causeway, including widening the 2.4km-long route, Mohamad Fazli said there are no plans to do so for now. “It depends on both Malaysia and Singapore governments if there is a need to upgrade the Causeway. “At present, we are waiting for the Johor-Singapore Special Economic Zone (JS-SEZ) agreement to be signed in September,” said Mohamad Fazli, who is state works, transportation, infrastructure and communication committee chairman.

Under the leadership of Johor Mentri Besar Datuk Onn Hafiz Ghazi, the state government has been proactive in solving congestion issues at both land checkpoints here, especially at the Causeway. Frequent trips to Bangunan Sultan Iskandar Customs, Immigration and Quarantine made by Onn Hafiz and his state executive councillors have help ease the congestion.


Malaysia-Singapore Causeway: Bridging borders 100 years on
The 1 km-long Causeway is one of the busiest border crossings in the world, with an average of 350,000 travellers daily

Every morning, two to three 40-foot trailers from Malaysian dairy producer Farm Fresh depart from farms in Kota Tinggi and Desaru, each delivering 18,000 litres of fresh milk to Singapore.

Founder and group managing director Loi Tuan Ee credits the Johor-Singapore Causeway – which is celebrating its 100th anniversary this month – for this seamless operation. “The proximity, easy accessibility and lower logistics costs enable us to send fresh milk to our Singaporean customers daily,” he told The Business Times.

The Malaysia-listed dairy producer, based in Johor, began exporting to Singapore six years ago. Today, the city state is its largest export market, contributing around 5 per cent of total sales.



100 Years of the Causeway
On 1 April 2022, the Causeway was fully reopened again, after almost two years of closure and restrictions

On 18 March 2020, the Causeway was shut down as Malaysia implemented its Movement Control Order (MCO) in response to the Covid-19 pandemic. Only food supplies and other necessity goods were allowed to go through the Causeway.

A daily limit of almost 3,000 passengers were allowed to pass through the Causeway between the two countries under the Vaccinated Travel Lane (VTL) scheme. The Causeway is finally reopened after almost two years of closure and restrictions. It was the longest period of inaccessibility for the Causeway since the Second World War.

Despite decades of congestion woes, trafficking issues or an occasional tool used in political bickering, the Causeway remains an important link between Singapore and Malaysia.


Johor–Singapore Causeway

The Johor–Singapore Causeway is a 1.056-kilometre (0.66 mi) causeway consisting of a combined railway and motorway crossing that links the city of Johor Bahru in Malaysia across the Straits of Johor to the district and town of Woodlands in Singapore. It was the only land connection between the two from 1928 until 1998, when the Tuas Second Link opened.

The distance between Singapore's Woodlands Checkpoint and Malaysia's Bangunan Sultan Iskandar is approximately 2.4 km (1.5 mi). The causeway also serves as a water pipeline between the two countries. It is one of the busiest border crossings in the world, with 350,000 travellers daily. Many Malaysians continue to live in Malaysia and commute daily (with either public or private motorised transportation) to Singapore, enduring extremely long journey times with extreme heavy traffic congestion on weekdays.

The border is handled by immigration authorities of both countries at the Southern Integrated Gateway (Malaysia) and Woodlands Checkpoint (Singapore). Since 26 March 2022, both countries have permitted pedestrians to walk along the Causeway by foot but this is not common; pedestrian walking is generally limited to instances of standstill vehicular congestion on the Causeway which prevents passengers from boarding regular-hour cross-border public buses after clearing immigration.


The Johor-Singapore Causeway

The Johor-Singapore Causeway straddles the Straits of Johor between Johor Bahru city in the southern Malaysian state of Johor and the Woodlands district in northern Singapore. The idea for a land link between Singapore and what was then Malaya was mooted as early as 1898 in the Legislative Council and was strongly supported by Sir Frank Swettenham, Governor of the Straits Settlements (1901-1904).

However, construction of the causeway only began in 1919 and was finally completed in 1923 at a cost of $17 million. The 1,056-metre-long causeway, which had a two-track railway line, was opened first to goods trains in September 1923 and subsequently to passenger trains a month later. It was officially opened in June 1924 by Sir Laurence Guillemard, Governor of the Straits Settlements (1920-1927). The ferry service continued to be relied upon to transport people and vehicles across the straits until the causeway was later expanded to accommodate pedestrian and vehicular traffic.

In 1932, pipelines were added to the causeway to enable water to be transported between Johor and Singapore. Part of the causeway was blown up by retreating British forces in January 1942 to stall the Japanese advancement into Singapore. The causeway continues to serve as both a functional and symbolic link between Malaysia and Singapore.

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27/06/2024

Controversial mural of a cigarette-holding Samsui woman

URA to re-evaluate stance over Chinatown mural featuring smoking samsui woman after public feedback

The Urban Redevelopment Authority (URA) is re-evaluating its position over a Chinatown shophouse mural depicting a young samsui woman smoking, due to recent public feedback. The authority had earlier given the landlord a deadline to erase the cigarette from the artwork.

In response to CNA's queries on Saturday (Jun 22), URA said that all proposals for murals on conserved buildings must be submitted to both the building owner and URA for approval before works can begin. However, the mural on the conserved shophouse at 297 South Bridge Road was completed without prior approval and URA said it had informed the building owner to submit the mural proposal for assessment. "After consultation with local stakeholders and relevant agencies, the proposal was not supported as the depiction of smoking on the unauthorised mural is not aligned with Singapore’s anti-smoking policy," said URA. "In light of recent public feedback, URA is re-evaluating its stance on the mural."

The mural's artist Sean Dunston told CNA he was thankful that URA was taking another look at its decision, and he hopes that the authority will allow the mural to remain as it is now. He referenced an email from the authority asking the landlord to delay any work on the mural until its review is completed. "It’s important that the public feedback (URA uses) to regulate images seen in public be more even-handed (or at least less offensive than the art it’s criticising) and that enforcement of policy regarding art, in particular, be more nuanced and geared towards supporting art and discussion," he said in response to queries.


Outcry over mural of samsui woman with cigarette: URA requests delay in changes as it reviews stance
Singapore-based American artist Sean Dunston was scrambling to modify his work as the URA issued a July 3 deadline

The Urban Redevelopment Authority (URA) has asked the artist behind a controversial mural of a cigarette-holding samsui woman to delay any changes to his work while the authority reviews its stance on amending the mural. On June 21, The Straits Times reported on an online outcry over the URA’s order to erase a smoking cigarette from the mural, located at 297 South Bridge Road, opposite Maxwell MRT station. The URA also cited an anonymous complainant who compared the depicted woman to a “prostitute” and called the mural “offensive”.

Singapore-based American artist Sean Dunston was scrambling to modify his work as the URA issued a July 3 deadline for a new proposal and cited the potential loss of the temporary permit of the business operating there, Ya Kun Kaya Toast, which expires on July 27. On Instagram, Dunston had then suggested drawing over the cigarette with a kitten, a taco or an opium pipe. But the URA has temporarily asked for the mural of the smoking samsui woman – which was defended on a Reddit thread citing archival sources as being historically accurate – to stay on the walls of the historic area where the pioneering migrant labourers once lived.

Many online commenters said the mural was a recognition of samsui women’s labour and lives, and erasing the cigarette in the mural amounted to historical revisionism. One Reddit user questioned: “Why are we trying to change history?” Indie Singapore Tours, which runs tours in Chinatown, commented on Dunston’s Instagram post that the samsui women “do back-breaking work, with their only respite their laced ciggies”. The mural is one of their guests’ favourites, the group commented. In an e-mail update to the landlord, who is represented by Shepherd Asset Management, dated June 21 and seen by ST, the URA said it had “taken note of additional feedback regarding the mural”. In the e-mail, the URA asked the landlord “to delay any works to the mural until the review is completed”. The e-mail did not provide a timeline for the review. In response to ST’s queries, the URA emphasised that while the mural was “completed without prior approval”, the authorities are re-evaluating its stance in the light of recent public feedback.


URA order over ‘offensive’ mural of samsui woman with cigarette sparks online debate
The URA told the landlord that the mural is “not aligned with Singapore’s anti-smoking policy stanc

An order by the Urban Redevelopment Authority (URA) to erase a cigarette from a Chinatown mural has sparked discussion online about public complaints and the censorship of street art. The mural, which depicts a young samsui woman holding a smoking cigarette, was completed in early April on the exterior of 297 South Bridge Road. The URA subsequently told the landlord in an e-mail dated May 8 that the mural is “not aligned with Singapore’s anti-smoking policy stance”, according to a spokesperson from Shepherd Asset Management, who represents the landlord.

In a later e-mail seen by The Straits Times dated June 18, the URA also cited feedback from an unnamed member of the public that the woman depicted “looks more like a prostitute than a hard-working samsui woman” and was “offensive”. The URA in the e-mail requested a “revised proposal” by July 3, and a failure to do so “will be taken into consideration for any application for the renewal” of the building’s temporary permit for the restaurant. The said restaurant is Ya Kun Kaya Toast, whose Temporary Permission expires on July 27. The mural’s artist Sean Dunston, 50, an American citizen based in Singapore since 2009, told ST over a phone call that the authorities should “try to find a little more balance”, as censoring the work outright was “too rigid and too draconian”. Dunston took to Instagram to share about the incident, and his post has since garnered over 1,300 likes and more than 110 comments mostly in support of the artist.

It is well-documented that samsui women smoked cigarettes as a form of recreation after their hard labour and even stored cigarettes under their trademark red headgear. South Bridge Road was where many of these pioneering migrant women from Guangdong province stayed. “Normally, samsui women are portrayed as old women – but when they came to Singapore, they were young and you don’t really see that kind of depiction. I thought it would be nice to change it up to show a younger woman and catch them in a situation when they were not working,” says Dunston of his artistic vision to render the strength and beauty of the samsui women. “It’s kind of suppressing the potential of Singapore’s art and it’s a bummer,” he adds. “The people who make these rules are afraid of offending people or sending the wrong message to kids – and I do understand that – but sometimes you can’t avoid it when you are talking about certain subjects and talking about a historical subject.” As to the charge that the woman depicted looked like a prostitute, Dunston dismissed the reaction as “ridiculous”. “There are people being offended by everything all the time,” he says, adding that the authorities’ response to the public complaint had been “knee-jerk”.



The Samsui Woman Kerfuffle Shows Some Complaints Aren’t Worth Listening To

Over the weekend, a woman and her cigarette became the subject of debate. A mural on a Chinatown shophouse featuring a youthful jade-bangled samsui woman, perched on a wooden chair, toting a cigarette, recently caught the attention of the Urban Redevelopment Authority (URA) as it apparently ran counter to the Singapore government’s anti-smoking policies. This was despite the fact that samsui women, who mainly worked as construction labourers, frequently smoked—one of the few respites in their famously frugal lives.

URA told the landlord to erase the cigarette in the mural and public outcry predictably ensued, The Straits Times reported on June 21. The Singapore-based American artist who’d painted the mural, Sean Dunston, also alleged that URA, in their feedback to the landlord, had cited a comment from an unnamed member of the public which called the mural “offensive” and said the woman “looks more like a prostitute than a hard-working samsui woman”. URA then ignominiously walked back on its decision, saying it would review its stance after taking into account the additional feedback. While it deliberates, the mural and her cigarette get to stay. Even as it has yet to reach its conclusion, this debacle has raised questions about our knee-jerk response to complaints. What do we lose when the loudest voices find offence in the innocuous? Not liking the artwork isn’t the problem here. The bigger issue is the entitlement of trying to get something taken down simply because you didn’t like it.

As more people caught wind of the mural, it became clear that—as with any artwork—it had its fans and detractors. It wasn’t just the cigarette that some people found objectionable. It was apparently the samsui woman’s gaze and the upturned grasp of her cigarette. She was holding it in “a glamorous way”, AWARE Singapore claimed when they weighed in on the topic on social media. The women’s rights advocacy group said the portrayal might perpetuate the male gaze. Likening the woman in the mural to a prostitute—and using the word as an insult—is an extremely damaging take, AWARE Singapore added. Indeed, it’s ironic that the unnamed member of the public, in calling for more respect to be shown to our samsui women, managed to disrespect sex workers and perpetuate misogyny in one fell swoop. At the same time, other members of the public saw no issue with the mural, even sharing photos of actual samsui women to prove its historical accuracy.


Singapore Street Art Mural Censorship Sparks Controversy and Public Debate Over Order to Remove Cigarette

A recent government order targeting a mural in Singapore’s Chinatown has ignited a debate over censorship in street art. The mural, created by Singapore-based multidisciplinary artist Sean Dunston, depicts a young Samsui woman holding a lit cigarette. This image references the Chinese women who immigrated to Singapore in the 1920s and 1940s to work in industrial jobs. Completed in April, the mural has since become a focal point of controversy.

On May 8, the Urban Redevelopment Authority (URA) informed the landlord of the building featuring the mural that the artwork “was not aligned with Singapore’s anti-smoking policy stance.” This initial communication was followed by an email on June 18, which included a complaint from an unnamed member of the public. The complaint described the mural as “offensive,” suggesting that the depicted woman looked “more like a prostitute than a hard-working samsui woman.” The URA has requested a revised version of the artwork by July 3, warning that non-compliance could affect the renewal of the building’s temporary restaurant permit, set to expire on July 27. News of the URA’s demands was first reported by the Straits Times, leading to widespread public and media attention.

Sean Dunston, an American citizen residing in Singapore since 2009, responded to the URA’s emails and the public criticism through an Instagram post on June 19. In his post, Dunston defended his artistic choices and addressed the public’s concerns directly. “To the member of the public that leveled this criticism,” Dunston wrote, “I’d like to say that sex workers are very hard working people and should be treated with as much respect as anyone else. You should ask your Mom about it. Also, if I offended you with this depiction of a Samsui woman, trying to enjoy herself for 2 little minutes between grind after grind, then I couldn’t be more pleased about it. You’re literally my target demographic.” Dunston explained that his intention was to depict the Samsui woman as young rather than old, capturing a moment of respite rather than labor. He described the URA’s order as “suppressing the potential of Singapore’s art” and “a bummer.”


Censorship fears as Singapore moves to scrub ‘offensive’ cigarette from Chinatown mural
Artwork depicts a historic Samsui woman holding a smoking cigarette, authorities say it sends ‘wrong message’

An order by the Singapore authorities to erase a cigarette from a Chinatown mural has sparked an online controversy about street art censorship. The mural, which depicted a young Samsui woman holding a smoking cigarette, was completed in early April, according to The Straits Times of Singapore. The city state’s Urban Redevelopment Authority (URA) told the landlord in an e-mail dated May 8 that the mural is “not aligned with Singapore’s anti-smoking policy stance”.

In a subsequent email on June 18, the URA also cited anonymous public feedback that the woman depicted “looks more like a prostitute” and was “offensive”. URA issued a July 3 deadline for a new proposal and warned of the potential loss of the temporary permit of the restaurant operating there, which expires on July 27. The artist who created the mural, Sean Dunston, a 50-year-old American based in Singapore since 2009, shared the incident on Instagram. He suggested drawing over the cigarette with a kitten, a taco or an opium pipe. However, many people have been critical of the URA’s decision, saying the cigarette in the mural is historically accurate and serves as a recognition of Samsui women’s labour and lives. “Why are we trying to change history?” said one online observer.

The term Samsui women, also known as “red headscarf women” in Chinese, refers to a group of Chinese females who immigrated to Singapore between the 1920s and 1940s for industrial jobs. They hailed mostly from the Sanshui district of Guangdong, a province in southern China. It is well-documented that the women smoked cigarettes as a form of recreation after their hard labour and even stored cigarettes under their trademark red headgear. The women primarily resided in the area where the mural is now located.


URA order to erase cigarette from 'offensive' mural of samsui woman sparks online debate
The URA told the landlord that the mural is 'not aligned with Singapore's anti-smoking policy stance'

An order by the Urban Redevelopment Authority (URA) to erase a cigarette from a Chinatown mural has sparked discussion online about public complaints and the censorship of street art.

The mural, which depicts a young samsui woman holding a smoking cigarette, was completed in early April on the exterior of 297 South Bridge Road. The URA subsequently told the landlord in an e-mail dated May 8 that the mural is "not aligned with Singapore's anti-smoking policy stance", according to a spokesperson from Shepherd Asset Management, who represents the landlord. In a later e-mail seen by The Straits Times dated June 18, the URA also cited feedback from an unnamed member of the public that the woman depicted "looks more like a prostitute than a hard-working samsui woman" and was "offensive".

The URA in the e-mail requested a "revised proposal" by July 3, and a failure to do so "will be taken into consideration for any application for the renewal" of the building's temporary permit for the restaurant. The said restaurant is Ya Kun Kaya Toast, whose Temporary Permission expires on July 27.


Women's group AWARE, artist Yip Yew Chong weigh in on debate
Mural by artist Sean Dunston in Chinatown, Singapore, featuring the image of a smoking samsui woman

Women's rights group AWARE and famed mural artist Yip Yew Chong have weighed in on the debate surrounding a Chinatown mural featuring a smoking samsui woman.

This comes after the mural's artist Sean Dunston took to Instagram to reveal that the Urban Redevelopment Authority (URA) had asked him to erase the cigarette from the artwork. He added that the agency said it had received feedback from a member of public who claimed that the mural was "offensive and disrespectful" to samsui women. According to the member of public, "the woman depicted in this mural looks more like a prostitute than a hardworking samsui woman.”

After Dunston's post went viral, URA announced on Jun 22 that it was "re-evaluating its position" due to public feedback. In an Instagram post on Jun 23, artist Yip Yew Chong said he believed that Dunston's work was not offensive, neither was it promoting smoking. In his post, Yip wrote: "In reality, samsui women indeed smoked a lot and had many personalities, being human. It is not impossible for a young, freshly migrated samsui woman to smoke and sit like that. We cannot be too stereotypical and expect certain occupations must have only a specific look and no others." "Art's intention is a much wider than to document actual history or beautify a place. It is primarily intended to draw emotions, thoughts and conversations."



Artist suggests replacing cigarette with cat, taco or opium pipe in samsui woman mural after complaint

The Urban Redevelopment Authority (URA) has asked the artist behind a controversial mural of a cigarette-holding samsui woman to delay any changes to his work while the authority reviews its stance on amending the mural.

On June 21, The Straits Times (ST) reported the online outcry over URA’s order to erase a smoking cigarette from the mural, located at 297 South Bridge Road, opposite Maxwell MRT station. The URA also cited an anonymous complainant who compared the depicted woman to a “prostitute” and called the mural “offensive”.

Singapore-based American artist Sean Dunston was scrambling to modify his work as the URA issued a July 3 deadline for a new proposal and cited the potential loss of the temporary permit of the business operating there, Ya Kun Kaya Toast, which expires on July 27. On Instagram, Dunston had then suggested drawing over the cigarette with a kitten, a taco or an opium pipe.


Netizens get creative after URA requests removal of cigarette in mural of smoking samsui woman

On Wednesday (19 June), an artist took to Instagram to share that his mural of a samsui woman smoking had been reported to the Urban Redevelopment Authority (URA).

A member of the public claimed that the mural was “offensive” and “disrespectful” to samsui women. Painted on the side of a building, the woman had a cigarette in her hand. The artist was then asked to remove the cigarette by 3 July.

In light of this, suggestions have flown in from netizens on what he could replace it with — such as money or the letter from URA itself. The artist behind the mural — Singapore-based Sean Dunston — shared an excerpt of the letter from URA on Instagram.



Artist who painted samsui woman mural in Chinatown won't make changes for now

Good news for those who want to take photos of the three-storey tall mural in Chinatown featuring a samsui woman with a lit cigarette. The artist, Sean P Dunston, 50, said he will not be making changes to it just yet.

This decision comes after the Urban Redevelopment Authority (URA) said in a late night statement on Friday, Jun. 21 that it is "re-evaluating its stance on the mural" following "recent public feedback". The mural is painted on the exterior of a conserved shophouse at 297 South Bridge Road.

In response to queries from Mothership, Dunston, who has been based in Singapore since 2009, explained the current state of limbo the mural is in: "They haven’t said that it can remain as is, but they asked us to hold off on work for now. Hopefully they’ll let us keep it as it is."



Unearthed archival photo shows Samsui woman smoking, netizens joke that it should be censored
Photo from 1930s shows samsui woman smoking during a break

Amid the outcry over a mural in Chinatown that shows a samsui woman smoking, an archival photo has been uncovered that shows a samsui woman doing just that. Taken in the 1930s, the photo depicts a youthful-looking samsui woman with a cigarette in hand, taking a break with four colleagues. The photo prompted netizens to joke it should be censored.

The photo of the samsui women was posted by the National Heritage Board on its website Roots.gov.sg, which showcases Singapore’s culture and history. Titled “‘Samsui’ women working at a construction yard”, it was taken between 1938 and 1939 by an air force pilot who served in Singapore.

The samsui woman sitting in the middle, who looks a bit younger than the others, appears to be holding a cigarette in her left hand. Her colleague on her right also looks to be holding a cigarette in her right hand. Another photo from the same series shows another young samsui woman smiling and looking at the camera.


The Samsui women who built a city 三水妇女 or 紅頭巾
Woo Yan San, one of the few remaining Samsui women - a group of Chinese immigrants who helped to build Singapore

Many of us might have never seen a samsui woman in the flesh, but these ladies were once the backbone of our developing infrastructure, just like the transient workers who build our country today.

The first wave of Chinese immigrants who arrived in Singapore in search of a new life were largely male.

Over the years, the sex ratio in Singapore became overwhelmingly skewed towards males, such that by 1928, the colonial government introduced immigration controls to limit the number of male Chinese immigrants into Singapore.

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