About SOCA

In the 19th century, the tiny island of Singapore was declared a free port and opened its doors to immigrants. With China mired in political and economic problems, many Chinese embarked on perilous journeys in overcrowded junks to seek a better life in Singapore. Life was rough for the early Chinese immigrants. They toiled day and night just to put bread and butter on the table and had little energy for anything else. Deeply concerned about the loss of cultural practices and determined to sustain Chinese culture in their new home, a group of Chinese artists took it upon themselves to organise and promote cultural activities and practises. And thus, the Society of Chinese Artists (originally known as “Chinese Fine Arts Research Association”) was born.

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PROMOTING ART AND REACHING OUT TO FELLOW ARTISTS

The Society of Chinese Artists was founded by a group of artists hailing from the south of China in the 1930s, who wanted to promote and cultivate art in Singapore and at the same time reach out to fellow artists. The group was mostly made up of alumni from the Shanghai Fine Arts Academy, Xinhua Fine Arts Academy and Shanghai University of Fine Arts. 

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The group first met on 15 April 1935 at the New Life Restaurant in the then Great World Amusement Park. According to historical records, ten people attended that meeting, namely Cai Zhuzhen, Li Yunyang, Lin Daoan, Xu Junlian, Zhang Bohe, Lin Tian, Chen Shengping, Liu Gongxi, Huang Qingquan and Li Kuishi. It was in this meeting that the “Salon Art Society”  was created. Lin Daoan and Xu Junlian were tasked with drafting the constitution for the new association and planning for an art exhibition.

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In the beginning, only a dozen people signed up as members since membership was only open to the graduates from the three art schools and thus, plans for the new association fell through. A second meeting was called for on 17 November that same year in the same location. Participants of the second meeting included Cheong Lu Chee, Zhuang Youzhao, Zhang Bohe, Lu Heng, Lai Wenji, Gao Zhensheng, Chen Chong Swee, Xu Junlian, and Li Kuishi.

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After a lengthy discussion, a consensus was reached. It was decided that the association would be renamed “The Chinese Fine Arts Research Association” and the association would be expanded to include artists from outside of the three art schools and also art lovers from Singapore, Malaysia and the then Dutch colony of Indonesia. The association was granted approval by the authorities and on 20 January 1936, the Chinese Fine Arts Research Association was officially established. 

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Yeo Mang Thong, a Singaporean scholar and author of “Essays on the History of Pre-war Chinese Painting in Singapore”, pointed out in his article “A First Look at the positioning of Singapore’s First Generation of Calligraphers and Painters” that the establishment of the Chinese Fine Arts Research Association was of great significance in the history of Singapore art, as the creation of the new association marked the growing number of art talents in Singapore in the mid-1930s. As the pool of art talents grew, they consciously pooled their wisdom to promote and cultivate art, contributing to the building of their new home. As time passes, the diasporic consciousness of the new immigrants started to fade as they assimilated into their new home and this was reflected in their new works, which featured themes with tropical heritage characteristics. 

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Singapore’s pioneer arts institution, the Nanyang Academy of Art (predecessor of Nanyang Academy of Fine Arts) was a brainchild of the Chinese Fine Arts Research Association. The academy not only provided structured training for would-be artists, but also natured educators in the field of fines arts and also effectively raised the standards of local artists.

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The establishment of the Chinese Fine Arts Research Association marked a new chapter in the development of fine arts in Singapore. It was a well-organised body made up of accomplished members, who work hard to promote art activities and improve the standard of fine arts in Singapore. Despite the many challenges and difficulties, the association has stood tall for nearly a century, achieving brilliant results.

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WELL-ORGANISED AND ACTIVE IN THE PROMOTION OF ARTS

The Chinese Fine Arts Research Association was well organised. The council consisted of President, Vice-President, General Secretary, Secretary (English), Secretary (Chinese) and committer member for Publishing. In 1940, committee members for research, communication and others were added to the council.

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To ensure the smooth and rapid development of the association, the constitution stipulated that council members are not allowed to be re-elected into the same position. Membership required a recommendation by existing members. 

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The association conducted group sketches and dinner meetings every month and also held annual exhibitions. The rules called for all members to attend these events and failure to attend any three successive events or failure to submit a work for the annual exhibition, would result in revocation of membership. 

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The association also regularly held symposiums, researched art theories, published weekly magazines, promoted art and organised art education research groups, all of which played a part in the development of a vibrant art scene in Singapore. 

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In addition, the Chinese Fine Arts Research Association also actively participated in art exhibitions outside of Singapore, including the “Ying Ying Art Society” organised by Penang artists Yong Mun Sen, Lee Cheng Yong and others in 1936, the first Malaysian Chinese Comic Exhibition hosted by the Malaysia Youth Encouragement Group in 1937 and the Salvation Comic Exhibition held the same year. In 1941, the association showed their support for artists from the United Kingdom by co-organising an exhibition with the Singapore Art Club, which was made up of western artists. 

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The Chinese Fine Arts Research Association also hosted calligraphy and painting exhibitions for Chinese artists passing through Singapore, including Zheng Ke, Wang Jiyuan, Xu Beihong, Yu Shihai, Ning Hanzhuang, Liu Haisu and more. 

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ESTABLISHMENT OF ART COLLEGE AND NATURING ART TALENTS 

According to historical records, it was vice-chairman Yeo Mun Sen who first advocated the formation of an art school. The Penang-based artist wrote to the Chinese Fine Arts Research Association in late 1937, proposing the establishment of an art school. This visionary initiative was warmly endorsed by council members. Thereafter, Li Kuishi, Yong Mun Sen, Liu Kang and Cheong Lu Chee were elected as members of the drafting committee responsible for the setup of the new establishment. 

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With a sponsorship from the Overseas Alumni Association of Jimei School and the support of passionate artists, the Nanyang Academy of Art, located at 16 Geylang Road, was formally established in 1938. Lim Hak Tai, an art educator from Xiamen and one of the leading members of the Chinese Fine Arts Research Association was appointed to head the academy, while Ko Pei Teck and Cheong Ming See were entrusted with assisting in running the academy. 

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Many of the first generation immigrant artists including the likes of Situ Huai, Huang Baofang, Zhong Baimu, Cheong Ming See, Cheong Lu Chee, Li Kuishi, Shi Yuyi, Chen Puzhi, Wu Xiande, Lin Yuzhu, Zheng Nong, Wu Tsai Yen and See Hiang To, served as lecturers of the new art school. 

 

The founding of the Nanyang Academy of Art, predecessor of today’s Nanyang Academy of Fine Arts, was fraught with difficulties, but with a strong will, the founding principal of the academy, Lim Hak Tai persevered in his vision for the school and eventually overcame all the challenges, leaving his mark in history. Credit also has to go to Yong Mun Sen for mooting the idea of establishing an art school, without which, the Nanyang Academy of Fine Arts would not have come to being. 

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Upon its establishment, the Nanyang Academy of Art undertook the task of naturing fine arts talents. Its relationship with the Chinese Fine Arts Research Association was one of teacher-student and also that of fellow artists. This close relationship brought artists and students together for the studying, research and sharing of fine art. Together, the Nanyang Academy of Art and the Chinese Fine Arts Research Association worked hard to nature new talents and promote fine arts activities. 

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JAPANESE INVASION, SUSPENSION OF ACTIVITIES

Singapore fell to the Japanese in 1942 when World War II broke out. During Operation Sook Ching, a Japanese military operation aimed at purging anti-Japanese elements from the Chinese community, then President of the Chinese Fine Arts Research Association Cheong Lu Chee, Vice-President Ho Kwong Yew and several members including Zhuang Youzhao, Yan Zhangfa and Lin Daoan were killed by Japanese forces. Fearing the worst, members of the association sought refuge in different areas and contact was lost with many members. The association ceased all operations and destroyed all documents and materials to avoid these falling into the hands of the enemies. 

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In 1946, the Japanese invaders surrendered and retreated. Members of the association who were based in Singapore re-established the association with a new constitution and re-named it the “Society of Chinese Artists” (SOCA). Liu Kang was elected as the first president of the post-war period and for the next ten years and more, he and Chen Chong Swee both took turns serving as president and vice-president of the association, leading SOCA and Singapore art to new heights. 

 

In December the year after the war ended, SOCA held its 6th annual art exhibition, showcasing the artworks of members and also famous artworks fin history and modern times. A special memorial room was also set up to display the artworks of members who had lost their lives during the war. 

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PROMOTING ART AND ART EDUCATION

SOCA did not limit itself to activities within the association, but also actively promote local art activities and spared no efforts on art education. 

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In fact, as early as 1940, the “Sin Chew Daily News - Weekly Journal of the Arts”, published by the Chinese Fine Arts Research Association was the only pure art supplement of all Chinese daily newspapers at that time. This publication, together with that of “World of Art” (1936) and “Art Today” (1937), both edited by a member of the association Dai Yinlang, not only helped promote art activities, but also enriched the content of the supplement of  Chinese daily newspapers back then. 

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In 1940,  the Chinese Fine Arts Research Association initiated and organised the Sin Chew Chinese Schools Graphic Art Exhibition to promote interest in art among Chinese-medium schools’ students and to raise the standard of art in Chinese-medium schools. The organisers also hoped to raise money for refugees through the sale of tickets. To ensure that work could be carried out smoothly, a preparatory committee for the exhibition was set up. The members included Yan Jiasheng, Wu Tsai Yen, Cheong Lu Chee, Lim Hak Tai, Li Kuishi, Huang Baofang, Chen Chong Swee, Zhuang Youzhao, Lei Gaoxing, Liu Xiande, Chen Junwen and Xu Junlian. Their work included creation of the exhibition brochure and soliciting prizes from supporters, so as to encourage students with artistic talents to submit their work. Although all the preparatory work was completed, organisers could not secure approval from the Ministry of Education and eventually the planned exhibition had to be aborted. 

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Since its establishment, the Chinese Fine Arts Research Association has held an art exhibition each year. This tradition was only broken during the Japanese Occupation. 

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In 1947, the association now known as SOCA, launched the celebration of the “Festival of Fine Arts”, which marked the humble beginnings of Singapore Festival of Arts, the first of its kind to be held in Singapore. There were also plans for publishing an annual art journal.

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SOCA also periodically expressed its opinions on various aspects of the development of arts and arts education in Singapore. In 1956 and 1959, the association submitted proposals to the authorities on issues such as schools’ art curriculum and class time.

SOCA also presided over the exhibitions of local artists, especially young artists, helping them to apply for financial support and with the publicity of the exhibitions. These were followed up with reviews in the press after the exhibitions ended, so as to encourage the younger artists and boost their confidence. 

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The association also organised or co-organised exhibitions for established overseas artists like Xu Beihong, Liu Haisu, Kuan Shan-yueh, Chang Dai-chien, Huang Binhong, Lin Yushan, Lee Man Fong, Wu Changshuo, Wang Geyi, Liu Boshu, Song Yugui, Hua Junwu and Bi Keguan etc. It also organised exhibitions of ancient and modern painting and calligraphy like those of the “Eight Eccentric Painters of Yangzhou” in 1976, and the “Ming and Qing Dynasty Famous Calligraphers and Painters Exhibition” in 1977.

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In 1970, the Singapore government offered the lease of the fourth level of a block of public flats in Outram Park to SOCA as its clubhouse and activity center. SOCA took up the offer the following year and the new premises allowed for an expansion of activities. With the hard work put in by Chen Chong Swee and the assistance provided by committee members and sponsors, SOCA was able to operate as a non-profit association. However, due to increasing rent, SOCA had to move out of its premises in Outram Park in 1986. It later moved to the San San Campus of Nanyang Academy of Fine Arts at 107A Sophia Road. It subsequently had to move again twice, first to Kampong Eunos, then to 9 Tagore Lane. In August 2022, SOCA moved to its latest premises (Econ Industrial Building, 2 Ang Mo Kio St.64, #01-01, S569084). 

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In recent years, SOCA has often organised sketching trips to neighbouring countries like Indonesia, Malaysia and Cambodia. It has also organised overseas trips for its members to China and Taiwan, where members could make sketches and upon their return, create new artworks for exhibitions and also journals reflecting their experiences.

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CONTRIBUTING TO THE DEVELOPMENT OF FINE ARTS IN SINGAPORE

SOCA has a long and significant impact on the art scene in Singapore, Malaysia and even in Asia. It is a well-organised body with directors and members past and present, who have worked to develop the association. Admission of new members is taken seriously. Applicants for membership are now required to submit two recent works for assessment before they can become members. There are currently a number of foreign members from Malaysia, Indonesia, China, France and Germany.

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With the help of the first generation of members, organisations such as the Molan Art Association, the San Yi Finger Painting Society, the Siaw-Tao Chinese Seal-Carving Calligraphy & Painting Society, the Hua Han Painting and Calligraphy Research Society and the Singapore Watercolour Society have been formed. Many of the leaders of these societies are also members of SOCA.

Whenever there are charity exhibitions, members are always keen to participate. This is part of good Chinese tradition and the virtues of our ancestors. It is also a credit to the association that our members have won numerous national cultural medallion and art competitions both at home and abroad.

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EPILOGUE

Singapore sits at the crossroads of the East and the West and is the transportation hub of sea, land and air traffic. With advanced information technology, cultural activities and trends from all over the world are instantly available to us, making us feel the need to keep up with the times. In addition, we are a multi-ethnic society, with Chinese, Indian and Eurasian ethnic groups all having long-standing cultural backgrounds. We can thus interact with one another to produce new effects and this in itself is a subject worthy of further exploration.