Illustration: Paperlily Studio
Journeys on Old Lines, Remembered
Review by Vithya Subramaniam
Together, Partitions (2021) and Between Pudukkottai and Singapore (2017) have me realising that to be a South Asian person in Singapore is to have journeyed. Apart, the two films reveal how these journeys haunt us, unsettle us, and inspire us.
Made by Vishal Daryanomel, Partitions and Between Pudukkottai and Singapore introduce us to protagonists who have made a life in Singapore – lives marked by migration, where permanence was never guaranteed. Both come to the island nation in different decades; one in its waning years as a colony, another in the bustling years leveraged off rapid postcolonial development. Yet, both these journeys about making life and place in Singapore present the interplay of personal agency and historical structures, of self and family, of identity and creation. In noticing these intersections, though, I do not want to overgeneralise these unique journeys. After all, to enter Singapore in the early 1960s as a dependant of a citizen with better accessibility to citizenship is not at all the same as entering Singapore in 2012 on a work permit with no chance for permanent residency. But all journeys begin with a departure.
Film still from Between Pudukkottai and Singapore
Partitions begins with an invocation of the Partition of 1947 – the departure of the Crown from Colony, of Pakistan from British India, of Hindus and Sikhs from the new dominion of Pakistan, of Muslims from the new dominion of India. Sindh, a region with its unique tradition of shared sacred spaces and syncretic practices between the devotional Hindu and Islamic traditions, also sees its Hindu population departing the newly raised borders of Pakistan. Long and far journeys are not new to the Sindhi population. With its riverine landscape and bustling port, Sindhis have long established commercial and familial networks around the world. In Asia, Sindhi families extend across Hong Kong, Thailand, the Philippines, Malaysia, Singapore and Indonesia. Kinship, marriage, and business dealings thus animate most of the trade and migration between these countries and the homeland. With the partition of the subcontinent, these old lines see many new departures from Sindh, but few returns.
The route to Singapore is one such line, well-forged over the years of empire-enabled mobility of goods and people between the two ports. Yet it does not stand alone. Migration is never about a singular journey. As Gunwanti recounts in Partitions, her journey from Sindh brought her first to Madurai, then Madras, before her eventual move to Singapore. Importantly, as it is characteristic of diasporic migration, it was extant familial contacts that sanctioned the journey. She first goes to Madurai to meet with her two elder sisters who have married there. She then travels to Singapore because contacts 'in Changi' vouched for her prospective groom.
It is this established community of Sindhis in Singapore that sets in motion the nexus of opportunity, aid, and trust that enables further migrations. We see this also in the fact that the then Sindhi Merchants Association (now renamed Singapore Sindhi Association) established premises at Enggor Street in 1938 with the expressed intent to 'provide Sindhi travellers in transit with comfortable boarding facilities'.[1] These facilities were expanded to Katong particularly to accommodate the large influx of Sindhis displaced by Partition,[2] a move that would account for the concentration of Sindhi families in that neighbourhood. As we see with the commingling of images of Hindu deities and Guru Nanak (the first Guru of Sikhism) in Partitions, the Katong neighbourhood too witnesses the syncretic nature of Sindhi religious practice particularly with the attendance of many Sindhi Hindus at Gurdwara Sri Guru Nanak Sat Sang Sabha.
Partitions conjures the unreturned departure with its opening sequence of citizenship documents and passports spliced with family photographs. Documents – a certificate of registration for Singapore citizenship, a spousal entry permit, a cancelled Indian passport issued in Madras and a certificate of Singaporean citizenship – trace the act of migrations on paper. Papers attest to and make visible the individual’s journey to a distant authority like the state. Family photographs trace migrations of flesh and blood, attesting to the journey of generations and people beyond those pictured.
Following Susan Sontag, Roland Barthes insists on the photograph’s connection to life:
The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being … will touch me like the delayed rays of a star. A sort of umbilical cord links the body of the photographed thing to my gaze … [3]
Subscribe to continue reading.
Vithya Subramaniam is a DPhil Anthropology student working on the materiality of ‘Indian-ness’ in Singapore. She is interested in the lives, mobility, and agency of everyday objects in the making of identities. Vithya previously worked on mnemonic spaces and cartography, particularly in the Sikh tradition. She is also a sometime playwright; she sometimes plays and sometimes writes. For a list of Vithya’s works see her website, or scroll through her ‘gram @straitssettled
Vishal Daryanomel is a Singaporean filmmaker whose works have explored themes of migration, labour, identity and belonging. His first documentary short Between Pudukkottai & Singapore (2017) premiered at the Singapore Writers Festival, and was an award winner at the inaugural Citizen Cinema programme organised by Freedom Film Festival, Singapore. It went on to screen at various other festivals in Southeast Asia, Europe, and North America. His second short film, partitions (2021), tells a story of Sindhi migration to Singapore following the Partition of India in 1947, juxtaposing fragmented recollections of the past with enduring practices of the present. He curated the short film programme as part of Global Migrant Festival in 2018.
Watch partitions (2021)
Synopsis: partitions is a short film about a Sindhi woman’s migration to Singapore following the Partition of India in 1947. The film takes an observational approach, juxtaposing fragmented recollections of the past – drawing on photographs, state documents, oral histories – with enduring practices of the present.
Watch Between Pudukkottai & Singapore – Poems by N Rengarajan (2017)
Synopsis: This short documentary features poet N Rengarajan, a migrant worker from Pudukkottai, India who sustains a practice of poetry as a way of life while working in the construction sector in Singapore. The film, structured around three of his poems, seeks to visually mirror the rhythm and tone of his writing. Together, verse and visuals strive to draw attention to the poet's acute illuminations of the realities of migrant life.
Brave new work needs brave new readers.
Please consider subscribing today.
References
[1] National Heritage Board. 'Singapore Sindhi Association.' Roots, National Heritage Board, www.roots.gov.sg/places/places-landing/Places/surveyed-sites/Singapore-Sindhi-Association.
[2] Singapore Sindhi Association. 'The Beginning...' Singapore Sindhi Association, Singapore Sindhi Association, singaporesindhi.com.sg/the-beginning.
[3] Hirsch, Marianne. 'Family Pictures: Maus, Mourning, and Post-Memory.' Discourse, vol. 15, no. 2, 1992, pp. 3–29. JSTOR, www.jstor.org/stable/41389264.