Choo Clan Association

The Choo Clan Association was established 75 years ago, but its origin dates back to more than a hundred years ago when its pioneers came to Singapore from China. To stay connected and provide mutual support for one another, they met at a four-pillared pavilion on Tiong Bahru Hill every Qingming Festival, during which they offered prayers and paid respects to their ancestors.

Later, to facilitate a permanent meeting place, pioneers Mushun, Guolong, Wulie and Yongchun offered a site they bought in 1946 to the newly established Choo Clan Association at cost price. Officially registered with the Registry of Societies in 1947 and moving into its current address the following year, the association quickly expanded as it offered membership to other Choo descendants from different dialect groups.

To achieve its goals of building on past endeavours, strengthening relations, as well as to have a Choo representative in every Chinese organisation wherever possible, the Choo Clan Association strives to maintain good ties with the Singapore Federation of Chinese Clan Associations and its members, as well as other Choo clan organisations around the world.As a reflection of its purpose, the Choo Clan Association will be participating in the Treasures of the Clans with its late adviser Mr. Choo Keng Kwang’s painting, Goldfish.

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Choo Keng Kwang (1931-2019)
Goldfish
Undated
Oil on canvas
95 x 69.5cm
Signature: K. Kwang


Choo Keng Kwang (1931-2019) is a Singaporean-born artist who graduated from the Nanyang Academy of Fine Arts. He was awarded the Public Service Medal and Long Service Award by the President. He was principal of Sin Hua School for 30 years and continued to paint and do onsite sketching in his spare time. As doves were one of his key painting subjects, he kept some as pets in order to better observe their forms and mannerisms.

Choo Keng Kwang’s paintings have a strong Nanyang flavour, often conveying a romantic, peaceful and nostalgic atmosphere. This is especially true for his endearing depictions of local buildings and early markets, such as those found on Teochew Street and Sungei Road. From the 1950s to the 1970s, he completed more than 60 paintings of old street scenes in Chinatown, four of which were chosen by Singapore Post as images for first-day covers or stamps.

The goldfish is another of Choo’s beloved subjects. Lee Man Fong, an oil painting master renowned locally and abroad, also enjoyed painting goldfishes. Both artists have similar approaches when depicting the goldfishes’ form and movement, and composing the background:  Western techniques of light and shade are used to capture the form of the goldfish whereas the background is painted with soft washes and delicate brushwork associated with traditional Chinese ink painting. The outcome is regarded by many as emblematic of the synthesis between Western and Chinese aesthetics.