SINGAPORE – A Peranakan beadwork and embroidery practitioner, a Chinese opera singer and a Malay dancer were lauded on April 1 for promoting and passing on their skills and traditions to the community and younger generation.

As recipients of the National Heritage Board’s (NHB) Stewards of Intangible Cultural Heritage Award, they will each receive a $5,000 cash award and be eligible for a project grant of up to $20,000, along with the opportunity to display and promote their intangible cultural heritage at NHB festivals and programmes.

The three winners are the fourth cohort of practitioners or organisations to receive the award, which was launched in 2019, taking the number of people or organisations recognised to 17.

Culture, Community and Youth Minister and Second Law Minister Edwin Tong, who gave out the awards at the Asian Civilisations Museum, said: “The dedication of these three individuals... (exemplifies) how tradition can be sustained through hard work and dedication, but also through infusing innovation and adaptation, so that each generation of Singaporeans feels related to their evolving heritage space.”

To be eligible for the award, practitioners must be Singaporeans or permanent residents (PRs) with at least 10 years in the vocation, and be well respected by the practising community. 

Singapore-based groups or organisations headed by a Singaporean or PR would also qualify.

Peranakan kebaya maker

After studying in Melbourne, Mr Raymond Wong returned home to help out in the family business, Kim Choo Kueh Chang, in 2003. He was then 23.

He found himself entertaining questions about his culture from customers. “Every time people came in, they would ask, ‘What is Peranakan food?’ So I just thought, why not decorate the place with some Peranakan-inspired things?”

This led him to buy vintage kebayas, which he displayed on mannequins. They piqued the interest of the eatery’s customers, and they led him to seek ways to promote his heritage.

Mr Wong now manages Rumah Kim Choo, a shop in East Coast Road dedicated to showcasing Nonya culture.

It began as a hobby, with the creation of his first pair of bedroom slippers for men at the end of 2003. It took him 18 months and more than 50,000 beads to complete the footwear.

In 2006, a customer of Rumah Kim Choo stained her kebaya, and Mr Wong, now 44, realised that it was not financially viable to send kebayas overseas for repair.

“I saw a relevance in learning the craft, so that if there were any mishaps, I could make the necessary repairs myself,” he said.

This led him to learn kebaya embroidery.

He initially sought mentorship from an embroiderer in Joo Chiat, but was turned away because his qualifications were in finance and accounting. 

So Mr Wong bought vintage kebayas to study their embroidery work, and taught himself to copy the stitches. With the aid of an instruction manual, he studied lace work. He often “reverse-engineered” some broken stitches, and eventually, he learnt the ropes.

“It was a terrible experience with the sewing machine because of the hand-leg synchronisation. No wonder they said it is a skilled craft,” he added.

A member of the Peranakan Association of Singapore and Kawan Kebaya, a network of kebaya stakeholders, Mr Wong continues to design and craft kebayas at Rumah Kim Choo, and lectures on fashion design and textiles at Lasalle College of the Arts.

“I want to pass my knowledge down to anyone who is interested,” said Mr Wong, who is one of a few remaining Peranakan kebaya makers in Singapore.  

He added he is very happy with the acknowledgement of his contributions to uphold his culture.

Veteran Malay dancer

Meet Mr Osman Abdul Hamid, a Malay cultural dancer for more than four decades. 

The young football player became interested in Malay dance after being persuaded by his friends to participate in the Singapore Youth Festival in Secondary 3. This led him to further explore dance, said Mr Osman.

Thanks to his first dance teacher, Mr Salleh Buang, Mr Osman, now 62, felt a strong “pull” towards dance. He joined Malay performing arts group Sriwana and was guided by founder Nongchik Ghani and Madam Som Said, who founded the Sri Warisan Som Said Performing Arts dance company.

After joining the People’s Association Cultural Troupe in 1979, he learnt other traditional dances, including Indian ones such as Bharatanatyam and Kathakali.

Mr Osman has taught generations of dancers, and many of his students are Malay dance teachers and choreographers.

In 2011, he co-founded the Era Dance Theatre, which teaches traditional, contemporary and new creative Malay dance.

As the theatre’s artistic director and a choreographer of performances for the Chingay Parade and National Day Parade, Mr Osman hopes to continue sharing his love of Malay dance. 

He was given the Cultural Medallion in 2023 for his achievements and contributions to Singapore’s arts scene.

He said he felt “honoured and blessed” to have received it and the NHB award. 

“The award is not only for me, but also for the dance family for their support and belief (in me). That is most important, and whatever you do, you need support from the community,” added Mr Osman. 

Chinese opera maestro

Born in Fujian province in China, Chinese opera practitioner Cai Bi Xia, 51, was first introduced to the art form when she was four or five years old. Her mother enjoyed Chinese operas and took her along to catch performances. 

The founder and artistic director of Traditional Arts Centre (Singapore) began learning the craft at age 15.

Ms Cai, who moved here in 1997, told The Straits Times: “I was very interested in the costumes, but I told myself I wanted to act.”

Her efforts to pass down the traditional art form include teaching it since 1997, and organising classes and workshops in schools.

In 2012, she founded the Traditional Arts Centre, which holds free weekly Chinese opera classes for children and youth.

Mastering Chinese opera was no easy feat for Ms Cai. The Singaporean recalls her teacher making her practise the same position or move 15 times, until her arms shook so badly by the end of the day that she could not hold up a spoon properly. The practice sessions were often so difficult and tiring that she cried afterwards. 

But she persevered and her efforts paid off. “My teachers told me to grit my teeth,” she said.

Ms Cai said: “I’m very touched and thankful to be given this award as I didn’t expect it.”

She added: “I feel pressure too because I now have a bigger responsibility of finding ways to better pass down the traditional culture of Chinese opera in Singapore.”