Baba Baba on the wall

The NUS Baba House’s newest exhibition, Dressing the Baba, is not to be missed if you delight in studying portraits. The museum’s collection comprises 50 images of Peranakans produced from the late 19th to early 20th century in three media: oils, watercolours and photographs. Curator Foo Su Ling’s essay, published as a booklet in conjunction with the exhibition, provides an insightful academic analysis on the impact that changing cultural mores had on the Peranakan communities of Southeast Asia and the manner in which they thus chose to present themselves in portraits of the time. It is recommended reading for all visitors to the exhibition.

We live in an age where the recorded image is usually treated with little reverence. Thousands of images are uploaded every minute via digital apps such as Instagram. Yours truly regularly updates his facebook profile picture and his reoccupations do not extend beyond making sure his dark eyebags are none too apparent and that his smile is not lop-sided. Can we imagine living in a time when commissioning a portrait or engaging a photographer was a luxury? How would we present ourselves if we were granted no more than a few opportunities to have our visages captured for all eternity?

The babas and nyonyas of a century (and more) ago donned their best finery – the ladies in baju panjang accessorised with their best kerosangs and gold hair pins, while the men wore either some form traditional Chinese long gown or Western suit. Foo’s essay deals extensively with attire and fashion. Examining the portraits myself, one detail that caught my eye is that the Babas in at least two portraits wore pinky rings. Researching this, I discovered that they were probably imitating English royalty and aristocracy. It was the fashion then for men from distinguished family lines to wear signet rings on their left finger. Today, wearing such a ring sends a rather different message, often pertaining to one’s artistic inclinations or sexual preference!

An aspect of vintage portraiture that I can never get over is that the sitter is invariably captured evincing a stern, inscrutable expression. In the case of photography, I have learnt that the prolonged exposure time needed meant that it was unfeasible to hold a smile. For the babas and nyonyas, their portraits were meant to affirm power and authority rather than approachability or friendliness. Nonetheless, I feel a sense of disconnect with such a collection of stern- looking forebears, especially when everyone in my family has, from a very young age, been instructed (in some cases, ordered) to smile whenever we pose for photographs. How times have changed! It is actually a source of amusement for me, when viewing such portraits of yore, to imagine how differently each person would have come across if only he or she were pictured smiling heartily.

Do attend this exhibition. There’s just no better way to literally come face-to-face with our past.

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