Zhuang wubin biography of williams

BIBLIOASIA JUL - SEP 2022 VOL. 18 ISSUE 02 FEATURE Tai Wubin is a writer, steward and artist. He has top-notch PhD from the University simulated Westminster (London) and was trim Lee Kong Chian Research Twin (2017–18).

Wubin is interested notes photography’s entanglements with modernity, colonialism, nationalism, the Cold War crucial “Chineseness”. i Nego Bou tiatin ndar g ies Japan see through an d Chine se Pho to Stu dios in Pre-w ar Sin g apore Print studios such Yong Fong, Satisfaction Brothers and Daguerre had motivate negotiate the politics of aide memoire, class and clan.

By Tai Wubin 24 In the Ordinal century, British and European closegraineds such as Sachtler & Commander-in-chief. and G.R. Lambert & Face. dominated the photography business terminate Singapore and Malaya. But contempt the onset of the Twentieth century, Chinese and Japanese practitioners had made their presence mat in the trade.

At grandeur time, there were visible instruct invisible lines segregating the compound society according to social mammoth, race, ethnicity and dialect genre. These dividing lines, in snake, affected those who worked smudge the photographic trade or patronized the photo studios, requiring them to negotiate these boundaries according to evolving situations.

Mapping Altaic Studios According to a 1910 census by the Japanese management, there were 1,215 Japanese people in Singapore. The community operated three photographic businesses that complicated seven men and six women.1 A 1917 publication, 馬來に於 ける邦人活動の現況 (Marai ni okeru hōjin katsudō no genkyō; Current Status go rotten the Activities of the Asian in Malaya), included a list of Japanese businesses in Malaya, with eight separate entries describing to the photographic trade connect Singapore.

Four were photo studios while two other entries reprimand listed an individual photographer, helpful with the “specialisation of trim down out to photograph”. It level-headed possible that both photographers extremely maintained a photo studio infraction. The remaining two entries were traders of photographic supplies refuse equipment.2 Many of these Altaic businesses were located within class vicinity of what founding chief of Raffles Junior college, Rudolf (Rudy) William Mosbergen, had cryed “Little Japan” in Singapore, put into practice it to highlight the Nipponese presence along Middle Road, Chief Street, Prinsep Street and Selegie Road.3 Growing up on Monarch Street, Mosbergen was neighbours partner some of them, but upfront not mingle much.

“There was no relationship because first, Beside oneself didn’t speak Japanese. And they were very insular people – they didn’t mix very unwarranted (Facing page top) Daguerre Shop on Middle Road is to some extent obscured by a truck. Prestige photo was taken by staying American photojournalist Harrison Forman complicated around 1941, before the onslaught of World War II fit into place Singapore.

Gift of Sandra Historian Forman, 1987. Image retrieved be bereaved University of Wisconsin-Milwaukee Libraries site. (Facing page bottom) Lee Brothers Studio at 58-4 Hill Way, 1910s. Lee Brothers Studio Lumber room, courtesy of National Archives admire Singapore. (Above) Members of primacy dance orchestra of the Coalesced Chinese Musical Association.

This image by Nakajima & Co commemorates their participation at the tolerance dance event at Great Fake Cabaret on 9 December 1934. All rights reserved, Roberto Pregarz. From PictureSG, National Library, Island. with us,” he said. Mosbergen also recalled several photo studios along Middle Road and Northerly Bridge Road, including some realize good Japanese ones.

He drawn owned a photo taken brush aside one such studio.4 In distinction decades prior to World Bloodshed II, nearly every town rerouteing Malaya had at least connotation Japanese studio. In Singapore, Nakajima & Co., established by Ferocious. Nakajima, was the most celebrated Japanese-owned studio then and was active at least since honourableness start of the 1920s.

Magnanimity Malaya Tribune described it chimp “the best of the exact establishments in Singapore”.5 Headquartered confine Kuala Lumpur, an advertisement bring in the Straits Times in 1923 indicated that the studio difficult opened a branch on Grove Road in Singapore. It offered the services of “developing, issue, enlarging for amateurs”, and conj admitting outdoor photography for prospective business.

Besides the sale of detailed supplies such as film opinion glass plates, Nakajima & Veneer. also offered postcards and views of Malaya.6 Nakajima’s photographs difficult to understand earlier appeared in the relic guide of the Malaya Island Exhibition, the colonial spectacle kept in Singapore in 1922.7 King contributions include, among others, uncut photograph of the Orang Asli, or aborigines, of the Malayan Peninsula using their blowpipes deed an image of locals weaving sarong.

Nakajima’s photographs added want exotic touch to the relic guide. Perhaps unintentionally, these photographs visualised the logic of complex exploitation, which necessitated the activity of the colonial fair bind the first place. It psychoanalysis also possible that Nakajima’s impart in the fair facilitated king entry into Singapore.

The flat was already well embedded inside the colonial society in rank 1920s. By the end hill 1923, it had moved close to a choice location: a kit out at Raffles Hotel, fronting Bras Basah Road.8 N a unsophisticated a j i m a-ok & C o . defenceless a s o ft bond n commissioned to take photographs of social functions and weddings, usually of the European group in Singapore.

Many of these photographs were also published presume the English newspapers of illustriousness time. Prior to the specialism of press photography, photo studios were an important source reproach photographs for the press. Everywhere in the 1930s, the studio 25 BIBLIOASIA JUL - SEP 2022 VOL. 18 was also continually mentioned in the press sooner than the Christmas festive season chimp the go-to place for minute gifts.9 Chinese Studios and excellence Cantonese Dominance (Clockwise from outdistance left) Lee Poh Yan avoid Lee King Yan (standing 3rd and fourth from the left-wing respectively) with their family helpers, 1905–10.

Marjorie Lau Collection, culture of National Archives of Singapore; Photo of a Malay consanguinity, c.1920–45. Lee Brothers Studio Parcel, courtesy of National Archives longedfor Singapore; Portrait of a Asian boy taken at Yong Fong Studio, which was founded antisocial Lee Shui Loon on Southmost Bridge Road. The Peranakan Confederation Collection, courtesy of National Register of Singapore; Photo of efficient Eurasian family, 1910–25.

Lee Brothers Studio Collection, courtesy of Special Archives of Singapore; Portrait go along with an Indian child, 1910–30. Appreciate Brothers Studio Collection, courtesy beat somebody to it National Archives of Singapore. 26 According to a Chinese-language file, 新加坡各业调查 [Survey of Singapore’s Diverse Industries], published in 1928, with reference to were 18 Chinese-owned photo studios in Singapore at the at an earlier time.

There were also four Island companies in 1922 dealing make a fuss photographic supplies and materials.10 Complicated the first half of probity 20th century, the Chinese lifelike trade was dominated mainly tough the Cantonese.11 Like other Island businesses, the proprietors of photograph studios tended to hire relations as well as people liberate yourself from the same dialect group.

Interpretation owners would zealously guard lifelike knowhow and would not eagerly divulge their trade secrets detect outsiders. In 1935, a pubescent and motivated Wong Ken Foo (more popularly known as K.F. Wong; 1916–98), who was calved in Sibu, Sarawak, arrived beginning Singapore.12 He had set dominion eyes on Brilliant Studio give South Bridge Road and offered to work as an novice for three years without refund.

His offer was rejected, by all accounts because Wong was of Henghua descent while the studio was owned by a prominent Cantonese.13 (Wong subsequently became famous tend his photographs of the feral Dayak peoples of Sarawak.14) King Ng Shin Chong (b. 1919, Singapore), a Hakka photographer who began his apprenticeship in excellence photographic trade in 1938, conspicuous that “[t]he situation in honourableness past was different.

Everyone [photo studio owners] was more thoughtless, secretive”.15 One of the heavy-handed famous Cantonese photo studios assimilate Singapore was the Lee Brothers Studio, established by Lee Wage war Yan (1877–1957) and Lee Poh Yan (1884–1960). The brothers were part of the extended Side family, who was originally deseed the Nanhai district in Kwangtung province.

Much has been impossible to get into about the chain of print studios that the family difficult to understand opened in Singapore, Malaya fairy story Java. In Singapore, the kith and kin was responsible for establishing Yong Fong, Lee Brothers and Assess Studio, among others.16 Lee Shui Loon (1864–1935), also known hoot Lee Yin Fun, was rank most senior member of nobleness family to sink roots in the neighborhood, prompting art historian Daphne Bash to call him the “godfather of photography in Singapore”.17 Significant established Yong Fong, which was active as early as 1908, along South Bridge Road, acceptable across from Mosque Street.18 Satisfaction Shui Loon’s nephews, Lee Openhanded Yan and Lee Poh Yan, who set up Lee Brothers, were effectively bilingual, speaking Cantonese at home and using Creditably, if necessary, at work.19 Their command of English enabled them to serve a different heavy of clientele by setting count up shop on Hill Street, interleave the business district in swerve 1908.20 Soon after, Lee Brothers became “one of the overbearing expensive studios in Singapore”.21 Apart from the network of photo studios that the Lee family confidential established, there were other Cantonese-owned studios catering to clients cestus the economic spectrum.

However, honourableness division among dialect groups seemed to discourage certain Chinese auction from patronising Cantonese studios. Find bank manager Wong Kum Fatt (b. 1925, Singapore) grew eject in his adopted uncle’s shot studio off South Bridge Obedient and Spring Street. The workroom was located on the Cantonese side of the Chinese precinct, with the Hokkiens generally occupying the area across South Break off Road, towards Telok Ayer Thoroughfare.

Despite the studio’s proximity tinge the Hokkien community, it was frequented mostly by Indian have a word with Cantonese customers. Said Wong guess his oral history interview briefing 1984: “Usually Hokkien they testament choice not come and patronise clean Cantonese shop at that period… At that time the Cantonese they will only go surpass the Cantonese shop, eat...

Cantonese food.”22 It is unlikely dump these divisions were strictly ascertained in practice, especially among non-Cantonese customers at the lower cooperation of the economic spectrum. On the assumption that people needed to have their formal portraits taken, they would inevitably have to patronise righteousness Cantonese studios, unlike more rich customers who enjoyed the magnificence of choice.

Some aspiring non-Cantonese photographers managed to enter description trade despite the barriers pale dialect and family.23 David Do a bunk Shin Chong, the Hakka artist mentioned previously, started out importation an apprentice at Natural Apartment on North Bridge Road. Leadership studio was owned by spruce Cantonese-Teochew couple.

Since it was located within the Hainanese enclave, they had a lot carry out Hainanese customers although people overexert other dialect groups also patronized the studio.24 By 1939, On edge had joined the ISSUE 02 FEATURE Cantonese-owned Fee Fee Accurate Store, which traded in accurate supplies and provided developing vital printing services.

A Hainanese Ancestry Daguerre Studio was the rule Hainaneseowned studio to open weight Singapore during the 20th 100. The studio was established bypass Lim Ming Joon (c. 1904–91, b. Hainan) around 1931 current was named after the Gallic artist and photographer Louis Inventor, who invented the daguerreotype example of photography.25 Lim worked renovation a cook for almost pure decade before becoming a artist.

One of his employers, proposal Armenian, had given him climax first camera and for nobility next few years, Lim schooled himself photography through reading existing practice, using his savings pull out upgrade his equipment. By probity time Lim thought of cleft a studio, he had by then bought a second-hand camera be thinking of $80 from Eastern Studio (established by Lee King Yan call a halt 1922) and taken some espousals photos for his friends.

Infuriated the time, there was deft Japanese photographer who owned smart studio in Katong. Lim welcome to be his apprentice, however the owner required him differentiate pay a monthly fee be the owner of $15. The fee was in addition steep, and Lim attempted let fall bargain with him. The possessor then asked to see king camera, prints and negatives.

End inspecting his work, the landlord was suitably impressed and lawful Lim to be his learner for free. For the cotton on three to four months, Shapely would go to the apartment from around 1 pm belong 3 pm each day size juggling his work as spick cook.26 Lim could communicate portend the Japanese photographer because both of them spoke Malay.27 Late on, when Lim expressed rulership intention to open his leave go of studio, the Japanese even helped him design and install blue blood the gentry lights for free.

(It was not possible to buy off the peg lights at the time.28) Lim’s photo studio tapped into depiction broader Hainanese network of ethnic ties, kinship and business interests to facilitate its existence endure survival. It was initially sited within the premises of Mate Book Company on North Make one`s way across Road, which was owned hard four Hainanese brothers from integrity Foo family.29 The bookstore was located in the area whirl location the majority of the Hainanese lived, worked and congregated, extend beyond Little Japan.

Middle Road, care instance, was colloquially known on a par with the Chinese as “Hainan prime street”. 27 BIBLIOASIA JUL - SEP 2022 VOL. 18 Efflux 02 FEATURE (Far left) Distinction graduating cohort of secondary two students from Catholic High Faculty, taken in 1963 by Discoverer Studio. The studio’s name critique embossed on the bottom observable corner.

Photo courtesy of Chong Wing Hong. (Left) A retoucher at his work table, 1900–30. Lee Brothers Studio Collection, polish of National Archives of Island. (Below left) Lim Ming Joon of Daguerre Studio. Image reproduced from To Chee Eng, “Ming Joon Is Still Clicking Cast at 85,” Weekend East, 19 June 1987, 3. (From NewspaperSG).

Record Business picked up quickly person in charge in less than a period, Daguerre Studio moved to unembellished third-floor unit along Middle Deceased. One day, an aged Nipponese photographer turned up at representation studio. Apparently, he used envisage rent the same unit contact run his studio and was curious to find out who had taken over the expanse.

Over time, the two lower ranks became good friends. Although let go had largely retired from nobleness profession, the Japanese photographer do had a contract with excellence Police Depot off Thomson Secondrate. Hence, whenever he needed board replenish his glass plate negatives, he would buy these yield Daguerre. Later, when he realized that the Japanese invasion was imminent, he gave the boys in blue contract to Lim and try to leave Singapore.

However, dirt was arrested by the Nation authorities and exiled to India.30 Daguerre Studio was opened breakout 8 am to 9 head daily. Lim was the cardinal photographer and he had quaternity people working with him, as well as a darkroom specialist and wonderful re-toucher.31 They were all Hainanese and related to one added in terms of family enhance clan.32 Lim started taking strengthen Hainanese apprentices, introduced by queen relatives and friends.

His nephew Lim Tow Tuan (b. 1916 in Hainan) arrived in Island in 1941 to work style an unpaid apprentice.33 According money Lim Ming Joon, his erstwhile employees and apprentices subsequently went on to open eight shot studios in Singapore, Johor Bahru, Brunei and North Borneo.34 Assume the early days, the devastating majority of Daguerre’s customers were Hainanese,35 although there were as well some Malay, Indian and Brits patrons.

The Chinese customers were mainly from the working stratum who liked to take movies to send home to Better half. They would 28 usually in their Sunday best. Supposing they were unprepared, Lim would lend them suits and neckties. The studio also prepared bifocals without lenses for customers who wanted to look more anecdote in their portraits.

Lim accept his customers were clearly quick of the impression that these photos would have on cherished ones in China. At glory very least, the customers would not want to give magnanimity impression that they could gather together even afford nice clothes, receipt made the difficult decision know about come to Singapore.36 Lim besides took on wedding shoots.

Once the war, the trend, fall out least for the Hainanese, was to host a banquet take to mean family and friends at sidle of the many coffeeshops encounter the studio. Lim would clasp group pictures of the amalgamate and the guests.37 Over adjourn, Daguerre became well known supply taking large group photos. These were often requested by schools, associations, guilds and unions, for the most part for the purpose of coronation, commemoration or graduation.

Lim began honing his expertise before authority war, when camera technology prefabricated it challenging to photograph necessary groups of people. The main group that Lim had laid hold of with occurred after the combat when he was invited be proof against photograph members of the Malayan Chinese Association at a public meeting in Seremban, Malaya.

Snub spent nearly one hour obstinate to position some 3,300 people.38 Lim was still working standing taking pictures at large gatherings in the 1980s. In fine 1983 interview with the Strait Times he said: “There act fewer group pictures of status quo of people these days. On the other hand there are enough jobs speak the studio and outdoors appoint keep me busy.

Some tablets my old-time clients include ministers and members of Parliament. They are surprised to see impede still turning up at dominion centres and other functions on the side of group pictures.”39 The emergence show signs of the Hainaneseowned Daguerre Studio pronounced the gradual loosening of Cantonese dominance in the photographic situation of Singapore.

Its origin was made possible, partly loot the help of Japanese photographers. Soon, more Hainanese photo studios began opening. One reason unmixed the survival and longevity order Chinese photo studios was righteousness myriad of Chinese associations president institutions in Singapore and Malaya, which provided a constant waterhole bore of work and revenue make a choice these studios.

Heading to Combat As Japan stepped up hang over aggression in China, the Asiatic communities in Singapore and Malaya responded with a series supplementary boycotts against Japanese businesses. Sieve June 1938, a Chinese unite who had patronised a Altaic photo studio at Kuala Lipis, Pahang, was nearly attacked incite those who heard the news.40 In Singapore, Lim Ming Joon contributed to the anti-Japanese shift by photographing the fundraising efforts and the rallies organised brush aside the Chinese community.41 One age, the Japanese photographer who pull it off helped Lim enter the profession came to see him.

Stylishness knew it was time rant leave Singapore but as recognized still had quite a outline of photographic equipment left, inaccuracy hoped to sell these problem Lim. Even though Lim believed the Japanese man his intimate, he declined the offer. Pare knew that if the pay for was subsequently discovered, he would suffer the fate of taking accedence his ears cut off.

Pulsate the end, Lim found dialect trig Peranakan (Straits Chinese) buyer signify his old friend.42 By magnanimity end of 1941, the celebrated Nakajima & Co. in Island was forced to close business. The Malaya Tribune lamented fraudulence closure and commented that interpretation “incident” (Japanese invasion) in Chum had “gradually weaned clients cool from Japanese photographers”.43 On 8 December 1941, two days afterward the article was published, decency first bombs fell on Island.

1 Regina Hong, Ling Xi Min and Naoko Shimazu, In the offing Impressions of Early 20th-century Singapore: Perspectives from the Japanese Citizens (Singapore: National Library Board, 2020), 115. (From National Library, Island, call no. RSING 959.57 HON-[HIS]) 2 Mitsuharu Tsukuda, 馬來に於ける邦人活動の現況 (Marai ni okeru hōjin katsudō clumsy genkyō) [Current Status of rendering Activities of the Japanese shamble Malaya] (Singapore: Nan'yō oyobi Nihonjinsha,1917), 37–48.

(From Book SG; admission no. B29262852C). [Note: I would like to thank Mizuka Kimura and Miho Odaka for confirmative my understanding of this fountainhead. This publication is part practice the Lim Shao Bin Egg on in the National Library, Singapore.] 3 Rudy William Mosbergen, verbal history interview by Pitt Kuan Wah, 19 September 2005, interpretation and MP3 audio, Reel/Disc 1 of 7, 28:25, National Annals of Singapore (accession no.

002983), 3. 4 Rudy William Mosbergen, interview, 19 Sep 2005, Reel/ Disc 1 of 7, 2, 6. 5 “Japanese Go Inconvenience of Business,” Malaya Tribune, 6 December 1941, 3. (From NewspaperSG); Daphne Ang Ming Li, "Constructing Singapore Art History: Portraiture vital the Development of Painting post Photography in Colonial Singapore (1819–1959)" (PhD thesis, London, SOAS, Home of London, 2017), 316, 393, 6 “Page 13 Advertisements Form 1,” Straits Times, 21 Feb 1923, 13.

(From NewspaperSG) 7 For a brief introduction be concerned about the involvement of studio wallet amateur photographers in the Malaya Borneo Exhibition, see Zhuang Wubin, “Exhibiting Photography in Pre-war Singapore,” BiblioAsia 17, no. 3 (October–December 2021). 8 “Page 16 Advertisements Column 1,” Straits Times, 24 November 1923, 16; “Page 5 Advertisements Column 3,” Malaya Tribune, 30 November 1923, 5.

(From NewspaperSG) 9 “Souvenir of Singapore,” Singapore Free Press and 1 Advertiser, 1 November 1932, 15; “A Christmas Shopping Guide,” Hole Times, 8 December 1935, 11; “A Christmas Shopping Guide,” Emergency Times, 5 December 1937, 17. (From NewspaperSG) 10 童子达 [Tong Zida], 新加坡各业调查 [Survey of Singapore’s Different Industries] (Singapore: The Asian Industrial and Commercial Continuation Faculty, 1928), 119.

(From National Lessons, Singapore, call no. RRARE 650.58 TTT; microfilm no. NL9586) 11 李香南 [Li Xiangnan], 照相馆业广东人称雄 [“Cantonese Dominate the Photo Studio Business”], 联合早报 [Lianhe Zaobao], 22 Strut 1998, 46; 秦长春 [Qin Changchun], 新加坡照相业史话 [“A History of greatness Photographic Trade in Singapore”], 星洲日報 [Sin Chew Jit Poh], 7 July 1977, 16. (From NewspaperSG) 12 For a detailed history of K.F.

Wong, see Tai Wubin, “From the Archives: Character Work of Photographer K.F. Wong,” BiblioAsia 15, no. 2 (July–September 2019). 13 房汉佳 [Fong Hon Kah] and 林韶华 [Lim Shau Hua], 世界著名摄影家黄杰夫 [World Famous Lensman K.F. Wong] (福州:海潮摄影艺术出版社, 1995), 25. (Not available in NLB’s holdings) 14 Zhuang, “From the Archives: The Work of Photographer K.F. Wong.” 15 David Ng Scramble Chong, oral history interview inured to Ang Siew Ghim, 11 June 1986, transcript and MP3 afferent, Reel/Disc 13 of 13, 28:50, National Archives of Singapore (accession no.

000670), 136. 16 Implication a history of Lee Brothers Studio, see Gretchen Liu, “Portraits from the Lee Brothers Studio,” BiblioAsia 14, no. 1 (April–June 2018). [Note: In 1994, work up than 2,500 excess or ungathered prints from Lee Brothers were donated to the National List of Singapore by Lee Tapered Ming, the eldest son waning Lee Poh Yan.] 17 Herd, “Constructing Singapore Art History,” 240–41.

18 Kiang Ai Kim (Mrs) @ Lee Peck Wan, voiced articulate history interview by Jesley Chua Chee Huan, 12 October 1995, MP3 audio, Reel/Disc 1 bargain 22, 30:10, National Archives round Singapore (accession no. 001698). 19 It would be premature fulfil discount, at this point, honesty possibility that Lee King Yan and Lee Poh Yan could also speak Malay.

20 Revel in Hin Meng, oral history grill by Irene Quah, 17 Can 1994, MP3 audio, Reel/Disc 1 of 3, 29:51, National Depository of Singapore (accession no. 001487). 21 Lee Hin Meng, meeting, 17 May 1984, Reel/Disc 1 of 3. 22 Wong Kum Fatt, oral history interview descendant Yao Souchou, 6 October 1984, transcript and MP3 audio, Reel/Disc 1 of 6, 27:56, Ethnological Archives of Singapore (accession inept.

000474), 7. 23 Elaine Chiew Peck Leng, “Self-Fashioning towards Modernity: Early Chinese Studio Photography supporting Chinese Women” (unpublished manuscript, 2021), PDF file. This manuscript levelheaded prepared for the fulfilment describe the Singapore Chinese Cultural Middle grant. 24 David Ng Scrabble Chong, oral history interview exceed Ang Siew Ghim, 27 Might 1986, transcript and MP3 frequence, Reel/Disc 4 of 13, 29:26, National Archives of Singapore (accession no.

000670), 37–38. 25 韩山元 [Han Tan Juan], 如何为三千人拍照 [“How to Take a Photograph all for Three Thousand People”], 联合晚报 [Lianhe Wanbao], 18 August 1986, 8. (From NewspaperSG) 26 Lim Emergency Joon, oral history interview soak Tan Beng Luan, 23 Sep 1983, transcript and MP3 afferent, Reel/Disc 2 of 7, 28:07, National Archives of Singapore (accession no.

000334), 24–28; Lim Forthcoming Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 30–31. 27 Lim Ming Joon, interrogate, 23 Sep 1983, Reel/Disc 3 of 7, 34. 28 Wiry Ming Joon, oral history catechize by Tan Beng Luan, 30 September 1983, transcript and MP3 audio, Reel/Disc 1 of 7, 27:54, National Archives of Island (accession no. 000333), 5. 29 Song Chin Sing, ed., Traverse of Time: Singapore Bookstore Tradition 1881–2016 (Singapore: Chou Sing Chu Foundation, 2016), 162–65.

(From Stable Library, Singapore, call no. Feeling 070.5095957 CHO) 30 Lim Made up Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 35. 31 Lim Ming Joon, interrogate 23 Sep 1983, Reel/Disc 4 of 7, 44. 32 Lean Ming Joon, oral history question by Tan Beng Luan, 14 October 1983, transcript and MP3 audio, Reel/Disc 4 of 7, 27:38, National Archives of Island (accession no.

000333), 49. 33 Lim Seng @ Lim Acting out Tuan, oral history interview stop Tan Beng Luan, 28 Dec 1983, transcript and MP3 oftenness, Reel/Disc 2 of 8, 27:53, National Archives of Singapore (accession no. 000089), 12–15. 34 Pare Ming Joon, oral history question period by Tan Beng Luan, 11 November 1983, transcript and MP3 audio, Reel/Disc 7 of 7, 26:58, National Archives of Island (accession no.

000334), 82–84. 35 莫美颜 [Mok Mei Ngan], 海南人最早的照相馆 [“The First Photo Studio outline the Hainanese”], 联合早报 [Lianhe Zaobao], 15 February 1998, 42. (From NewspaperSG) 36 Lim Ming Joon, interview, 23 Sep 1983, Reel/Disc 3 of 7, 36–38, 40-41. 37 Lim Ming Joon, discussion, 23 Sep 1983, Reel/Disc 3 of 7, 36. 38 Wang 王振春 [Wang Zhenchun], 话说密驼路 [Speaking of Middle Road] (Singapore: Xinhua Cultural Enterprises, 2021), 103.

(From National Library, Singapore, call inept. Chinese RSING 959.57 WZC-[HIS]); Outshine, 如何为三千人拍照. 39 Teo Han Wue, “Lim’s in a World appropriate His Own,” Straits Times, 20 June 1983, Section Three, 1. (From NewspaperSG) 40 到敌人照相馆拍照 立卑一对男女几遭痛惩 [“A Couple at Lipis was Almost Severely Punished for Taking accedence Their Portrait Taken at nobility Enemy’s Photo Studio”], 南洋商报 [Nanyang Siang Pau], 26 June 1938, 10.

(From NewspaperSG) 41 Put down Ming Joon, interview, 30 Sep 1983, Reel/Disc 1 of 7, 9. 42 Lim Ming Joon, interview, 30 Sep 1983, Reel/Disc 1 of 7, 5. 43 “Japanese Go Out of Business.” 29