Not long ago, my colleague Han Yong Hong wrote a news report that the curtains would fall for the last time for Sin Yong Hua Heng - a Teochew opera troupe with 174 years of history - after its aptly-chosen swansong “wan gu liu fang” （An Everlasting Legacy） in Yishun.
More recently, I also read another report by Han in zbNOW, headlined “Marginalisation - An inescapable fate for Chinese theatre？”
As a result of the reports and feedback from friends in education circles, I cannot help but become concerned about the future of the Chinese language and culture in Singapore.
Indeed, The Singapore Federation of Chinese Clan Associations （SFCCA） and Singapore Press Holdings have acted early - more than 10 years ago - by co-organising the Singapore River Hongbao and the Chinese Cultural Festival regularly, in the hope of reversing the trend of declining interest in Chinese culture.
Such large-scale activities have drawn many participants and created much awareness and enthusiasm, which alas, tend to be short-lived and cannot be sustained. For instance, Sin Yong Hua Heng, with the help of the Singapore Chinese Opera Society and other opera enthusiasts, staged a popular play “Liu Mingzhu” some years back, which was billed as one of the highlights of the Chinese Cultural Festival that year. The three performances, held at an open area in Bras Basah, were played to a full house and won praises all round. Still, the troupe could not escape its eventual fate of folding up.
Most secondary school Chinese-language teachers who are about to retire will shake their heads and sigh when asked about the future of the Chinese language. “Chinese is now a secondary language and students are well aware that it has little impact on their future. If it is to be graded in a test or an examination on the same day with other subjects, most students will focus on other subjects at the expense of Chinese,” they said.
When they join the English-speaking working world after leaving school, their command of the Chinese language which is already weak to begin with, is not going to get better. How can we then possibly expect them to develop a passion for Chinese culture, and get them interested in watching a Chinese drama or opera？ they asked.
Be it the dissolution of Sin Yong Hua Heng or the marginalisation of Chinese theatre, it boils down to the question of whether the Chinese language here is alive and well. Chinese is not used widely in our society , especially in official documents. I can still recall the overwhelming excitement in March 1954, when “Family”, a play based on the masterpiece by celebrated Chinese writer Ba Jin, was performed 14 times over 13 days in Chung Cheng High. Under the present circumstances, a repeat of such a feat would certainly be out of the question.
Inevitably, Chinese community organisations will have an important role to play as guardians of the Chinese language and culture. Eight years ago, when Mr Kwek Leng Joo was first elected President of the Singapore Chinese Chamber of Commerce and Industry, not only did he change the regulations of the SCCCI to abolish elections along clan lines, but he also made it a rule that meetings of directors must be conducted in Mandarin. This has affirmed the status of Mandarin in the business association. And for 95 years, Chinese has been used to record minutes of SCCCI's meetings.
The SFCCA, on its part, has started kindergartens with a special emphasis on the Chinese language. It also encourages its members to promote Chinese culture by organising activities to mark traditional festivals. For years, clan associations with better resources have been working hard to get the younger generation to learn and appreciate the Chinese language and culture. Among them, the Singapore Foochow Association has been most outstanding.
To cultivate interest and confidence in the Chinese language, the clan group has started a Young Writers' Society. Well-known literary figures have been invited to conduct classes for these budding writers. To publicise its efforts in promoting the Chinese language, its quarterly publication is delivered to all schools. Last but not least, it started a cash-reward scheme last year for children of its members who excel in the Chinese language.
Said Mr Diong Tai Pew, vice-chairman of the association： “We are concerned about the future of the Chinese language and the problems it faces. As a Chinese clan association, we see it as our duty to correct the bias and create a more favourable condition. Our focus in the next five to 10 years is to raise the standard of Chinese and do our bits in nurturing a group of Chinese elites.”
The tireless efforts of the Singapore Foochow Association serves as a good example for other Chinese community groups to emulate. If we choose to wait until the overall situation is more conducive to the learning of the Chinese language, we may end up paying a heavier price.
（The writer is an executive reporter of Zaobao. Translated by Yap Gee Poh）
華族文化的隱憂
● 區(qū)如柏
不久前,在《聯(lián)合早報(bào)》新聞版,看到了同事韓詠紅報(bào)道,具有174年歷史的新榮和興潮劇團(tuán)在義順上演后一場(chǎng)潮劇《萬(wàn)古流芳》就宣告落幕了。
近在《早報(bào)》的副刊,又看到另一篇也是韓詠紅報(bào)道的《邊緣化－華語(yǔ)劇場(chǎng)不可逃避的命運(yùn)？》。
看了這兩篇報(bào)道,再聽教育界朋友的反映,不得不令人對(duì)新加坡的華文和華族文化的前景感到擔(dān)憂。
盡管新加坡宗鄉(xiāng)會(huì)館聯(lián)合總會(huì)和新加坡報(bào)業(yè)控股,早在10多年前就采取行動(dòng),定期舉辦春到河畔迎新年與華族文化節(jié),以扭轉(zhuǎn)這種劣勢(shì)。這些大型文化活動(dòng)的確也吸引了不少人參與,營(yíng)造了一陣又一陣的文化熱潮。
可惜這些文化熱潮都是短暫的,過(guò)后又恢復(fù)常態(tài)。就以新榮和興潮劇團(tuán)的情況來(lái)說(shuō),前幾年,該劇團(tuán)在新加坡華族戲曲研究會(huì)和戲劇界朋友的協(xié)助下排練《劉明珠》,被列為華族文化節(jié)的重點(diǎn)節(jié)目之一,在勿拉士峇沙草場(chǎng)演出3場(chǎng),座無(wú)虛席,獲得好評(píng)?？墒?后它還是逃不過(guò)解散的命運(yùn)。
和一些即將退休的中學(xué)華文老師談起華文的前途時(shí),大多數(shù)人都搖頭嘆息。他們說(shuō)：“這個(gè)大氣候,華文已經(jīng)淪為弱勢(shì)語(yǔ)文,學(xué)生深知華文對(duì)他們的前途的影響不大,因此,遇到華文科和其他科目排在同一天考試或測(cè)驗(yàn),多數(shù)學(xué)生會(huì)把注意力集中在其他科目而放棄華文?！?BR> 他們認(rèn)為,學(xué)生的華文基礎(chǔ)不好,踏入社會(huì)后,工作環(huán)境和周圍環(huán)境又全是英文、英語(yǔ),叫他們?cè)跄芘囵B(yǎng)起對(duì)華族文化的熱愛？怎么有興趣觀賞華語(yǔ)話劇或地方戲曲？
由此看來(lái),不論是職業(yè)戲班新榮和興的解散,或是華語(yǔ)話劇走向邊緣化,都與華文在新加坡的生命息息相關(guān)。華文的使用面有限,尤其是官方文件。在這種大氣候之下,絕對(duì)不可能重現(xiàn)1954年3月中正中學(xué)戲劇會(huì)演出《家》的時(shí)候,一連13天,共演14場(chǎng)的熱鬧盛況。
以目前的情況來(lái)看,華人社團(tuán)任重道遠(yuǎn),無(wú)可避免地成為華文和華族文化的堡壘。8年前,當(dāng)郭令裕第出任總商會(huì)會(huì)長(zhǎng)時(shí),在修改章程、廢除幫派選舉的同時(shí),也明文規(guī)定,召開董事會(huì)議時(shí)必須使用華語(yǔ),從而確保華語(yǔ)在總商會(huì)的地位；總商會(huì)的會(huì)議記錄也95年不變,一直使用華文。
宗鄉(xiāng)總會(huì)則開辦注重華語(yǔ)教學(xué)的幼稚園,也鼓勵(lì)會(huì)員積極推動(dòng)華族傳統(tǒng)文化,如舉辦傳統(tǒng)節(jié)日等。這些年來(lái),那些條件比較好的會(huì)館的確是很努力地工作,希望華文及華族文化能夠代代相傳,其中福州會(huì)館做得出色。
為了加強(qiáng)學(xué)生對(duì)學(xué)習(xí)華文的興趣和信心,該會(huì)館成還立了小作家學(xué)會(huì),邀請(qǐng)文藝界知名人士為他們講課。為了讓新加坡所有的學(xué)校了解會(huì)館推動(dòng)提高華文的工作,每期出版的《三山季刊》都郵寄給所有的學(xué)校。此外,會(huì)館已從去年開始設(shè)立會(huì)員子女“華文優(yōu)越獎(jiǎng)勵(lì)金”,鼓勵(lì)會(huì)員子女努力學(xué)習(xí)華文。
福州會(huì)館副主席張代彪說(shuō)：“我們感受到華文所面對(duì)的隱憂,作為宗鄉(xiāng)會(huì)館必須努力扭轉(zhuǎn)這種劣勢(shì),糾正這種偏差。因此在今后的5年至10年,會(huì)館將集中力量提升華文程度,在培養(yǎng)華文精英方面盡一分綿力?！?BR> 也許福州會(huì)館的努力可以給華人社團(tuán)作為參考,如果要等到大氣候?qū)θA文有利時(shí)才努力,就要付出更大的代價(jià)了。
More recently, I also read another report by Han in zbNOW, headlined “Marginalisation - An inescapable fate for Chinese theatre？”
As a result of the reports and feedback from friends in education circles, I cannot help but become concerned about the future of the Chinese language and culture in Singapore.
Indeed, The Singapore Federation of Chinese Clan Associations （SFCCA） and Singapore Press Holdings have acted early - more than 10 years ago - by co-organising the Singapore River Hongbao and the Chinese Cultural Festival regularly, in the hope of reversing the trend of declining interest in Chinese culture.
Such large-scale activities have drawn many participants and created much awareness and enthusiasm, which alas, tend to be short-lived and cannot be sustained. For instance, Sin Yong Hua Heng, with the help of the Singapore Chinese Opera Society and other opera enthusiasts, staged a popular play “Liu Mingzhu” some years back, which was billed as one of the highlights of the Chinese Cultural Festival that year. The three performances, held at an open area in Bras Basah, were played to a full house and won praises all round. Still, the troupe could not escape its eventual fate of folding up.
Most secondary school Chinese-language teachers who are about to retire will shake their heads and sigh when asked about the future of the Chinese language. “Chinese is now a secondary language and students are well aware that it has little impact on their future. If it is to be graded in a test or an examination on the same day with other subjects, most students will focus on other subjects at the expense of Chinese,” they said.
When they join the English-speaking working world after leaving school, their command of the Chinese language which is already weak to begin with, is not going to get better. How can we then possibly expect them to develop a passion for Chinese culture, and get them interested in watching a Chinese drama or opera？ they asked.
Be it the dissolution of Sin Yong Hua Heng or the marginalisation of Chinese theatre, it boils down to the question of whether the Chinese language here is alive and well. Chinese is not used widely in our society , especially in official documents. I can still recall the overwhelming excitement in March 1954, when “Family”, a play based on the masterpiece by celebrated Chinese writer Ba Jin, was performed 14 times over 13 days in Chung Cheng High. Under the present circumstances, a repeat of such a feat would certainly be out of the question.
Inevitably, Chinese community organisations will have an important role to play as guardians of the Chinese language and culture. Eight years ago, when Mr Kwek Leng Joo was first elected President of the Singapore Chinese Chamber of Commerce and Industry, not only did he change the regulations of the SCCCI to abolish elections along clan lines, but he also made it a rule that meetings of directors must be conducted in Mandarin. This has affirmed the status of Mandarin in the business association. And for 95 years, Chinese has been used to record minutes of SCCCI's meetings.
The SFCCA, on its part, has started kindergartens with a special emphasis on the Chinese language. It also encourages its members to promote Chinese culture by organising activities to mark traditional festivals. For years, clan associations with better resources have been working hard to get the younger generation to learn and appreciate the Chinese language and culture. Among them, the Singapore Foochow Association has been most outstanding.
To cultivate interest and confidence in the Chinese language, the clan group has started a Young Writers' Society. Well-known literary figures have been invited to conduct classes for these budding writers. To publicise its efforts in promoting the Chinese language, its quarterly publication is delivered to all schools. Last but not least, it started a cash-reward scheme last year for children of its members who excel in the Chinese language.
Said Mr Diong Tai Pew, vice-chairman of the association： “We are concerned about the future of the Chinese language and the problems it faces. As a Chinese clan association, we see it as our duty to correct the bias and create a more favourable condition. Our focus in the next five to 10 years is to raise the standard of Chinese and do our bits in nurturing a group of Chinese elites.”
The tireless efforts of the Singapore Foochow Association serves as a good example for other Chinese community groups to emulate. If we choose to wait until the overall situation is more conducive to the learning of the Chinese language, we may end up paying a heavier price.
（The writer is an executive reporter of Zaobao. Translated by Yap Gee Poh）
華族文化的隱憂
● 區(qū)如柏
不久前,在《聯(lián)合早報(bào)》新聞版,看到了同事韓詠紅報(bào)道,具有174年歷史的新榮和興潮劇團(tuán)在義順上演后一場(chǎng)潮劇《萬(wàn)古流芳》就宣告落幕了。
近在《早報(bào)》的副刊,又看到另一篇也是韓詠紅報(bào)道的《邊緣化－華語(yǔ)劇場(chǎng)不可逃避的命運(yùn)？》。
看了這兩篇報(bào)道,再聽教育界朋友的反映,不得不令人對(duì)新加坡的華文和華族文化的前景感到擔(dān)憂。
盡管新加坡宗鄉(xiāng)會(huì)館聯(lián)合總會(huì)和新加坡報(bào)業(yè)控股,早在10多年前就采取行動(dòng),定期舉辦春到河畔迎新年與華族文化節(jié),以扭轉(zhuǎn)這種劣勢(shì)。這些大型文化活動(dòng)的確也吸引了不少人參與,營(yíng)造了一陣又一陣的文化熱潮。
可惜這些文化熱潮都是短暫的,過(guò)后又恢復(fù)常態(tài)。就以新榮和興潮劇團(tuán)的情況來(lái)說(shuō),前幾年,該劇團(tuán)在新加坡華族戲曲研究會(huì)和戲劇界朋友的協(xié)助下排練《劉明珠》,被列為華族文化節(jié)的重點(diǎn)節(jié)目之一,在勿拉士峇沙草場(chǎng)演出3場(chǎng),座無(wú)虛席,獲得好評(píng)?？墒?后它還是逃不過(guò)解散的命運(yùn)。
和一些即將退休的中學(xué)華文老師談起華文的前途時(shí),大多數(shù)人都搖頭嘆息。他們說(shuō)：“這個(gè)大氣候,華文已經(jīng)淪為弱勢(shì)語(yǔ)文,學(xué)生深知華文對(duì)他們的前途的影響不大,因此,遇到華文科和其他科目排在同一天考試或測(cè)驗(yàn),多數(shù)學(xué)生會(huì)把注意力集中在其他科目而放棄華文?！?BR> 他們認(rèn)為,學(xué)生的華文基礎(chǔ)不好,踏入社會(huì)后,工作環(huán)境和周圍環(huán)境又全是英文、英語(yǔ),叫他們?cè)跄芘囵B(yǎng)起對(duì)華族文化的熱愛？怎么有興趣觀賞華語(yǔ)話劇或地方戲曲？
由此看來(lái),不論是職業(yè)戲班新榮和興的解散,或是華語(yǔ)話劇走向邊緣化,都與華文在新加坡的生命息息相關(guān)。華文的使用面有限,尤其是官方文件。在這種大氣候之下,絕對(duì)不可能重現(xiàn)1954年3月中正中學(xué)戲劇會(huì)演出《家》的時(shí)候,一連13天,共演14場(chǎng)的熱鬧盛況。
以目前的情況來(lái)看,華人社團(tuán)任重道遠(yuǎn),無(wú)可避免地成為華文和華族文化的堡壘。8年前,當(dāng)郭令裕第出任總商會(huì)會(huì)長(zhǎng)時(shí),在修改章程、廢除幫派選舉的同時(shí),也明文規(guī)定,召開董事會(huì)議時(shí)必須使用華語(yǔ),從而確保華語(yǔ)在總商會(huì)的地位；總商會(huì)的會(huì)議記錄也95年不變,一直使用華文。
宗鄉(xiāng)總會(huì)則開辦注重華語(yǔ)教學(xué)的幼稚園,也鼓勵(lì)會(huì)員積極推動(dòng)華族傳統(tǒng)文化,如舉辦傳統(tǒng)節(jié)日等。這些年來(lái),那些條件比較好的會(huì)館的確是很努力地工作,希望華文及華族文化能夠代代相傳,其中福州會(huì)館做得出色。
為了加強(qiáng)學(xué)生對(duì)學(xué)習(xí)華文的興趣和信心,該會(huì)館成還立了小作家學(xué)會(huì),邀請(qǐng)文藝界知名人士為他們講課。為了讓新加坡所有的學(xué)校了解會(huì)館推動(dòng)提高華文的工作,每期出版的《三山季刊》都郵寄給所有的學(xué)校。此外,會(huì)館已從去年開始設(shè)立會(huì)員子女“華文優(yōu)越獎(jiǎng)勵(lì)金”,鼓勵(lì)會(huì)員子女努力學(xué)習(xí)華文。
福州會(huì)館副主席張代彪說(shuō)：“我們感受到華文所面對(duì)的隱憂,作為宗鄉(xiāng)會(huì)館必須努力扭轉(zhuǎn)這種劣勢(shì),糾正這種偏差。因此在今后的5年至10年,會(huì)館將集中力量提升華文程度,在培養(yǎng)華文精英方面盡一分綿力?！?BR> 也許福州會(huì)館的努力可以給華人社團(tuán)作為參考,如果要等到大氣候?qū)θA文有利時(shí)才努力,就要付出更大的代價(jià)了。