Bananas as symbolisms of heterotopias in the contemporary Potemkin City of Singapore

by Akai

In the cultural context of Singapore and the extended Southeast Asia region, the banana occupies a spectrum of symbolisms. Of particular, I like to focus on the banana fruit and tree as a catalyst, symbolism and device of heterotopias: connecting the non-physical space (of mythologies, religions, desires, etc) and the contemporary visible space.

The banana plant and fruit is observed to be part of numerous cultural mythologies. Bananas are present in the mythologies of the indigenous Pontianak, the Chinese Ba Jiao Jing, the Thai Nang Tani, and in Hindu religion associated with Devaguru Brihaspati, Lord Vishnu and Goddess Lakshmi. Such mythologies come to intersect and co-exist in Singapore via the diaspora and migrant populations. Outside the realms of organised religion, these ‘folk religions’ are usually worshipped alongside organised religion, sometimes by followers of other religions. It is interesting to note that, despite the physical erasure of the structures and artifacts of the pre-Islam and pre-colonial fabric of Singapore, such indigenous worship practices are perhaps our strongest link to the past. As with many folklore and mythologies, the narratives of folk worship may be murky, and many times even hybridised; whether by intent, natural hybridisation, or ignorance. This cross cultural hybridisation reflects the social construct of Singapore as a population with diverse origins.

In a 1955 report for the Master Plan, Singapore’s population was reported at 1,120,800, of which 220,000 was in the Rural Planning Area, and 246,000 was listed as attap housing dwellers in the Urban Planning Area. This represents a figure of at least 464,000 out of 1,120,800 living in informal settlements. In the post-independence period, Singapore embarked on an ambitious plan of tabula rasa urbanism, where large portions of the original landscape had been lost via landforming and construction of new towns. 

Described by Rem Koolhaas in 1995 as a Potemkin City and inferred as a Generic City, Singapore’s early urbanism and architectural efforts reflected a mix of futurist and pragmatic ideologies; and a sense of national improvement via urbanisation. The top-down urbanisation described by Koolhaas had created a city without characteristics, which is driven by economic and industrial goals first, before cultural goals. In effect, it had created a carefully curated city, where cultures and historic sites are oftentimes themed more for tourism than a legitimate desire for cultural and architectural conservation. In 1983-1984, Kenzo Tange and IM Pei were commissioned to create a master plan for Marina Bay, and in 2000, the Landmark and Gateway Plan was launched, to create a catalyst for the private sector to develop landmark buildings. Such efforts reflected an awakening desire in the 1980s-2000s to found a Singapore identity. Today in 2020, Singapore is more known for our landmarks and futuristic buildings than the ubiquitous HDB flats which represent a large percentage of our architectural stock.

Koolhaas’ description of Potemkin City is perhaps more true now than ever before as more multi billion dollar landmarks pop up around the downtown area. Amidst the framework of a curated and zoned cityscape, lies a manifestation of folk religion. The legend of banana tree worship to get lottery numbers,  banana trees being the residence of Pontianak, and banana fruit as offerings for worship in both organised and folk religion exists in this seemingly contemporary city.  Tree worship, formal and informal altars, shrines, keramats, holy trees, getais, and joss paper burners occupy often temporal, or exist on contested spaces. Those structures and devices occupy private properties, alleys, trees at the edges of buildings, on footpaths, etc. The location of such structures typically lie on the verges of the Potemkin City, and practiced on the fringes of organised religion; half tolerated by society and institutions which had since the 1960s chose to project an internationalist or Generic City front. And in many of such structures, one may find one of numerous varieties of banana.

Such a random occupancy is even more clear in Singapore, a city which is seen as highly organised, with very principled urban planning regulations, and a very modern cosmopolitan metropolis. This presents interesting dualities; modernity / tradition, formalism /informalism, physical / metaphysical, utopic / heterotopic. In the metal grid network of urban planning, lies latent spaces which such heterotopic objects and events occupy; almost like an underworld from contemporary culture.

Parallel to the association of the banana with the holy or supernatural lines the association of banana with carnal desires due to its phallic form. Such desires are oftentimes seen as incompatible with the public-facing social image of Singapore. Sex in the context of the city is thus isolated within private rooms, designated red light areas, or otherwise pushed into a semi legal underground form, occupying unseen places. Carnal desires within society also occupy similar parallels to Japanese honne and tatemae, of individuals having a public face and a private face; much like how Singapore has a Potemkin public face and a private face. Such heterotopias may be hidden in plain sight, hidden well in private areas, or relegated to latent spaces. Such occupancies may be causational to one's  socioeconomic status, where those who can afford it occupy such spaces in comfort and privacy. 

Bananas are also associated with absurdity, humour, and playfulness, values  which used to be frowned upon in Singapore society. From Amos Yee eating a banana leaving the court as a strange gesture to the ‘banana dance’ (in)famous in school orientation camps, the universality of the absurdism of the banana lies alongside its folk religious qualities.

As Singapore rises from a Potemkin-Generic City into a Potemkin-Spectacle City inhabited by landmarks like Marina Bay Sands, the heterotopias linger on as a rift between designed spaces and desired places. From supernatural symbolism, innuendos and absurdism, the banana is culturally consumed and viewed in a wide spectrum, and always seems to be just under the surface, just under the framework of curated perfection and curated chaos of this metropolis.