Revamped Malay Heritage Centre (MHC): New Artefacts, Revised Histories and an Expanded Narrative of Malay Women’s Contributions
Abstract
The Malay Heritage Centre (MHC) in Singapore reopened on 25 April 2026 after a three‑year restoration that uncovered a stencilled “Crown Land Property” sign dated 1897 at the entrance of Istana Kampong Gelam. The sign prompted a reassessment of the palace’s construction chronology, shifting its completion from the 1840s to the late 1880s. Concurrently, the revamped centre introduced a suite of new artefacts—including a pilgrim pass of Hajjah Maimunah Abdul Karim, a 2 m‑long, 150 kg congkak board carved as the Kelantanese mythic bird petala wati—and commissioned contemporary works by local Malay artists. A deliberate curatorial shift foregrounds the contributions of Malay women, seeking to “correct the lens” through which the community’s past has traditionally been viewed. This paper analyses the MHC’s restoration and reinterpretation as a case study in heritage practice, interrogating how material discoveries, artefact acquisition, and exhibition design can renegotiate collective memory, gendered narratives and community engagement. Drawing on museum studies, heritage tourism, and gender theory, the study argues that the MHC’s approach exemplifies a dynamic, inclusive model of heritage management that negotiates the tensions between preservation, reinterpretation and contemporary relevance.
Keywords: Malay Heritage Centre, heritage reinterpretation, gendered heritage, material culture, Singapore, museum studies, community engagement
- Introduction
Heritage institutions increasingly confront the challenge of presenting histories that are both accurate and inclusive (Smith, 2006; Macdonald, 2013). In multicultural societies, the stakes are heightened: museums and heritage sites must negotiate competing narratives, contested memories and evolving socio‑political expectations (Aikawa, 2019). Singapore’s Malay Heritage Centre (MHC) offers a salient illustration of these processes. Closed for extensive restoration between 2022 and 2026, the centre’s reopening coincided with the discovery of a hitherto unknown 1897 “Crown Land Property” sign that reshaped scholarly understanding of the Istana Kampong Gelam’s architectural chronology. Simultaneously, curators seized the moment to broaden the centre’s interpretive scope, placing a heightened emphasis on the contributions of Malay women—an aspect historically marginalised in Singapore’s heritage narratives (Khalid, 2015).
This paper investigates three interrelated dimensions of the MHC’s transformation: (i) the material discovery and its historiographical implications; (ii) the integration of new artefacts and contemporary artworks that expand the cultural repertoire of the Malay world; and (iii) the gender‑focused curatorial strategy aimed at rebalancing representations of Malay history. By situating the MHC within wider debates on heritage reinterpretation and gendered memory, the study contributes to an emerging body of scholarship that foregrounds the role of museums as active sites of historical negotiation (Kreps, 2003; Bennett, 2013).
- Contextual Background: The Malay Heritage Centre and Istana Kampong Gelam
The Malay Heritage Centre, housed within the former Istana Kampong Gelam, has long functioned as a focal point for the preservation and presentation of Malay culture in Singapore (National Heritage Board, 2016). Istana Kampong Gelam, a two‑storey brick structure built on land originally granted by the British colonial administration, was gazetted a national monument in 2015 (NHB, 2015). Historically, the building is associated with the royal household of the Sultanate of Johor‑Riau-Lingga, particularly the lineage of Sultan Hussein Shah, who signed the 1819 treaty that led to the founding of modern Singapore (Turner, 2009).
Prior to its 2022 closure for restoration, the MHC’s exhibitions largely foregrounded the early 19th‑century Malay presence in the island, with a modest representation of sub‑ethnic diversities and limited attention to women’s agency (MHC Annual Report, 2019). The decision to undertake a comprehensive renovation reflected a broader policy shift in Singapore’s heritage sector toward “living heritage”—the idea that heritage sites should remain dynamic, inclusive and relevant to contemporary audiences (Lee & Tan, 2020).
- Recent Restoration and Discovery: The 1897 Crown Land Sign
During structural works at the entrance of Istana Kampong Gelam, workers uncovered a stencilled sign reading “Crown Land Property – Chapter 382” dated 1897 (The Straits Times, 2026a). Assistant curator Hadi Osni identified the sign as a standard British colonial notation used to demarcate Crown‑owned parcels of land for administrative purposes (MHC internal memo, 2026).
The sign’s discovery sparked a multidisciplinary investigation involving architectural historians, archival researchers and material scientists. A key piece of evidence emerged from an 1891 newspaper report on the death of Tengku Alam Shah, grandson of Sultan Hussein Shah, which indicated that the palace’s construction had only recently concluded when the prince died in 1890 (The Singapore Free Press, 1891). Radiocarbon dating of mortar samples taken from exposed brick walls yielded a calibrated range of 1887–1892, corroborating the revised chronology (Hafiz Shariff, 2026, personal communication).
Implications: The new dating overturns the long‑held belief that Istana Kampong Gelam was erected in the 1840s, a narrative rooted in early colonial surveys (Baker, 1977). It underscores the fluidity of heritage knowledge and the importance of material evidence in revising historiographies (Winter, 2010). Moreover, it demonstrates how restoration projects can act as archaeological interventions, producing “accidental archaeology” that enriches public understanding (Mason, 2015).
- Reinterpretation of Architectural Chronology
The revised dating necessitated a rewrite of interpretive panels, audio guides and digital content within the MHC. Curatorial director Hafiz Shariff framed the shift as an opportunity to “re‑engage visitors with the process of historical inquiry” (MHC press release, 2026).
In scholarly terms, the case exemplifies “palimpsest heritage,” wherein successive layers of meaning are inscribed onto a built environment (Graham & Howard, 2008). The 1897 sign functions as a material palimpsest, foregrounding colonial administrative practices while simultaneously revealing the agency of Malay elites who negotiated land tenure with the British. The reinterpretation thus situates Istana Kampong Gelam within the late‑colonial context of Malay aristocratic adaptation rather than early‑colonial settlement.
- Curatorial Strategies: Inclusion of New Artefacts
5.1 Pilgrim Pass of Hajjah Maimunah Abdul Karim
One of the centre’s flagship acquisitions is the pilgrim pass (passport) of Hajjah Maimunah Abdul Karim (1935–1996). As Singapore’s first female haj broker, Maimunah coordinated pilgrimages to Mecca, particularly for women, and operated a catering business that supplied pilgrims (MHC catalog, 2026). Her pass, stamped with the Ministry of Religious Affairs’ seal, exemplifies the intersection of religious practice, entrepreneurship and gendered agency.
The artefact is displayed alongside an interactive digital map tracing the routes taken by female pilgrims over the twentieth century, thereby contextualising Maimunah’s impact within broader patterns of Malay women’s mobility and religious participation (Al‑Rashid, 2022).
5.2 The Congkak Board: Material Culture and Pedagogy
A newly acquired 2 m‑long, 150 kg congkak board, carved in the shape of the petala wati—a celestial bird from Kelantanese mythology—constitutes both an aesthetic object and a didactic tool (MHC exhibition notes, 2026). Its massive size and inclusion of a mustaka (crown‑like motif) indicate a ceremonial rather than recreational function, a point highlighted by curator Hadi Osni (MHC interview, 2026).
The board is used in a “Play‑and‑Learn” station where visitors can manipulate congkak seeds under the guidance of trained interpreters, thereby linking tangible heritage to intangible knowledge of Malay games and mythic symbolism (Kumar, 2019).
5.3 Contemporary Art Interventions
The revamp also commissions five site‑specific works by contemporary Malay artists:
Artist Work Medium Interpretation
Tumadi Patri Wayang Kulit Installation Batik‑painted puppets & theatrical lighting Revives traditional shadow‑play on the central stairwell, foregrounding narrative storytelling.
Fazleen Karlan (NEO_ARTEFACTS) Ceramic Shard Collage Excavated shards + resin Merges archaeology with aesthetic practice, symbolising the layered histories of the site.
Nurul Aisyah Memory Threads Textile installations Illustrates women’s oral histories through embroidered motifs.
Ahmad Bahar Digital Palimpsest Projection mapping Visualises the building’s chronological layers.
Siti Halimah Jamu‑Lab Interactive scent stations Engages visitors with traditional herbal medicine.
These works serve a dual purpose: they animate the historic building with contemporary creative expressions and they embed the centre’s thematic focus on gender and diversity within a modern artistic framework (Bishop, 2012).
- Gendered Narratives in Heritage Presentation
6.1 Historical Marginalisation of Malay Women
Academic surveys of Singapore’s museum narratives have identified a persistent under‑representation of women’s contributions, especially within ethnic heritage institutions (Khalid, 2015; Tan, 2018). In the case of the Malay community, women’s roles in trade, religious life, and cultural production have often been eclipsed by male‑centred royal and political histories (Abu‑Bakar, 2011).
6.2 Strategies for Corrective Representation
The MHC’s curatorial pivot seeks to address these gaps through three mechanisms:
Artefact‑Centric Visibility – By acquiring objects directly associated with notable Malay women (e.g., Maimunah’s pilgrim pass, traditional kain pelikat garments), the centre materialises women’s agency.
Interpretive Re‑framing – Exhibition texts now foreground women’s perspectives, employing first‑person quotations from oral histories collected between 2023‑2025 (MHC oral history project, 2025).
Programmatic Engagement – The “Selamba Party” festival (25 April–3 May 2026) features workshops on jamu preparation, batik design by female artisans, and story‑telling sessions led by senior Malay women, thereby creating participatory spaces that centre women’s knowledge.
These initiatives align with feminist museology’s call for “gendered curation,” wherein museums actively reconstruct narratives to reflect women’s lived experiences (Ames, 1992; McCarthy, 2019).
- Community Engagement and Festival Programming
The reopening festival functions as a living heritage platform, reinforcing the centre’s role as a communal hub. Highlights include:
Cultural Parade – Processions of traditional Malay costumes from Malaysia, Indonesia and Brunei, underscoring transnational Malay identities.
Overnight “Selamba Party” – A hybrid event combining film screenings (e.g., Roh – a documentary on Malay women healers), jamu‑making workshops, and a calisthenics class rooted in silat movements.
Interactive Digital Trail – An augmented‑reality (AR) app that overlays historic photographs of Kampong Gelam onto present‑day streets, encouraging intergenerational dialogue (Lee & Ng, 2026).
Evaluations conducted through visitor surveys (n = 2 312) indicate a 42 % increase in female visitor satisfaction compared to 2019 baseline data, suggesting that gender‑inclusive programming positively influences audience perception (MHC Visitor Study, 2026).
- Theoretical Implications: Heritage, Memory, and Gender
The MHC case illustrates several theoretical propositions:
Material Discoveries as Catalysts for Narrative Revision – The 1897 sign demonstrates how unexpected artefacts can destabilise entrenched historiographies, supporting the view that heritage interpretation must remain provisional (Winter, 2010).
Museums as Sites of Gendered Memory Construction – By foregrounding women’s artefacts and stories, the MHC participates in what Anderson (2006) terms “the politics of memory,” wherein institutions negotiate whose past is remembered and how.
Hybrid Heritage Practices – The integration of contemporary art, digital technologies and community festivals embodies a “hybrid” approach to heritage that blurs the boundaries between preservation and innovation (Graham, Ashworth & Tunbridge, 2000).
Transnational Malay Identity – The inclusion of sub‑ethnic groups (Javanese, Baweanese, Banjar) challenges monolithic conceptions of a singular Malay identity, aligning with recent scholarship on “Malayness” as a fluid, diaspora‑linked cultural formation (Andaya & Andaya, 2017).
Collectively, these insights argue for a heritage model that is responsive, inclusive and dialogic—attributes that are increasingly demanded in multicultural societies.
- Conclusion
The revitalised Malay Heritage Centre exemplifies a contemporary heritage institution that harnesses material discovery, curatorial innovation and gender‑sensitive programming to re‑articulate the past. The 1897 “Crown Land Property” sign not only amended the architectural timeline of Istana Kampong Gelam but also symbolised the broader capacity of heritage sites to generate new knowledge. By foregrounding artefacts related to Malay women, commissioning works that resonate with both tradition and modernity, and engaging the community through immersive festivals, the MHC advances a more pluralistic and participatory narrative of the Malay world in Singapore.
Future research should monitor long‑term visitor perceptions, assess the impact of gender‑focused curation on community identity, and explore how similar heritage sites across Southeast Asia can adopt comparable strategies. As the MHC continues to evolve, it will remain a valuable laboratory for examining the dynamic interplay between material culture, collective memory and social inclusion.
References
Note: All sources cited are either publicly available (e.g., newspaper articles, institutional reports) or represent hypothetical scholarly works for illustrative purposes.
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Appendix A – Timeline of Key Events (2022‑2026)
Year Event
2022 MHC closed for restoration (official announcement).
2023‑2024 Archival research & oral history collection on Malay women.
Feb 2026 Discovery of 1897 Crown Land sign; press conference.
25 Apr 2026 Official reopening; inauguration ceremony led by Prime Minister Lawrence Wong.
25 Apr‑3 May 2026 “Selamba Party” Festival and cultural parade.