Taxi Tales On A Crooked Bridge By Charlene Rajendran By Geoffrey Benjamin's Multiracialism?

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In his article, Geoffrey Benjamin talked about the various problems to do with Singapore’s ‘Multiracialism’ and that the four cultures were pressured to demonstrate their uniqueness while underplaying their similarities. In my essay, I shall show that to a large extent, many of the examples which he observed are still observable today, though perhaps manifested in different ways.
The first thing he pointed out was the tendency for Singaporeans to show particular concern for one’s ethnic identity. We can still see that happening in the Excerpt B for Question 3, Taxi Tales on a Crooked Bridge by Charlene Rajendran (2009) where a taxi driver is so concerned with the author’s race. In another example, the ICA (2013, Feb 20) had to clarify that …show more content…

This “Instant-Asia” portrayal of our Singapore culture is still very much alive in our Singapore Tourism Board’s promotion of our country (See Appendix A).
He also mentioned the vignette of the four interlocked hands with differently hues. Though it is no longer at the back of our ten-dollar currency note, it has now been replaced by the portrayal of musical instrument to represent the different races, namely pipa, kompang, veena and violin, on the fifty-dollar currency note which still seeks to send the same “separate-but-equal-status” message.
The constant reiteration of the Chinese-Malay-Indian-Eurasian categorization in our national census is still very prevalent, though the category of Eurasian has now been changed to Others, as seen in our Statistical Tables from Yearbook 2014 (See Appendix B). The Ethnic Integration Policy (EIP) by HDB is yet another example of this. Though the intention behind it is “to promote racial integration and harmony” (HDB, 2014), such acts may unintentionally heighten Singaporean’s senses to this thing called …show more content…

Also, during each Chingay, there would be almost definitely have a representation of the Malay, Indian and Eurasian culture even though it is primarily a Chinese parade.
He also mentions our television programmes which are usually performed by racially homogenous casts that corresponds to the language used. To this day, such segregation of TV programme is still found with Channel 8 and U for the Mandarin programmes, Suria for Malay and Vasantham for the Tamil. However, his comment about the arts unlikely to gain official support in Singapore seems to be no longer valid. In fact, based on statistics from the National Arts Council, government funding for the arts have climbed each year to reach $164.2 mil in 2012 (MCYS, 2013).
Another observation that no longer stands is the practice of basing the children of ethnically mixed marriages on one of the parents, usually the father. With effect from 1st January 2011, parents of mixed-marriages are given the flexibility and choice to choose what race would be recorded or even the option to reflect both races of both parents (ICA,

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