“Wa Leng Wa Hor” – An Artistic Journey Through Photography by Adri Tan
**“Wa Leng Wa Hor” – A Photographic Journey by Adri Tan**
Within the vibrant cultural fabric of Southeast Asia, narratives are frequently transmitted through spoken tales, complex traditions, and striking visuals. Based in Singapore, photographer Adri Tan has embarked on an exceptional visual journey that intertwines language, identity, and heritage in his photographic collection titled *“Wa Leng Wa Hor”*, a Hokkien expression that roughly translates to “my face is nice” or “my face is good.” This series explores themes of self-image, cultural pride, and linguistic identity, providing viewers with an intimate insight into the living heritage of the Hokkien-speaking community in modern Singapore.
### The Significance of “Wa Leng Wa Hor”
At first glance, “Wa Leng Wa Hor” might seem like a mere compliment or casual saying, but within the context of Adri Tan’s work, it transforms into a potent affirmation of self-worth and personal identity. The phrase finds its roots in Hokkien, one of the Chinese dialects commonly spoken by older generations in Singapore, as well as in parts of Malaysia, Taiwan, and southern Fujian, China. Tan’s incorporation of this phrase not only grounds the project in cultural specificity but also acts as a subtle defiance against the gradual decline of dialects in favor of standardized Mandarin due to official policies in Singapore.
By adopting a dialect phrase as the title of his visual project, Tan aims to reclaim a sense of linguistic pride and honor the individuality rooted in cultural heritage. *“Wa Leng Wa Hor”* becomes both a statement and a query: How do we view our identity and appearance in relation to our cultural background?
### The Visual Style
Adri Tan’s expertise as a visual storyteller is apparent throughout the series. His portraits are skillfully arranged, often placing subjects against meaningful backdrops—traditional family homes, community hubs, markets, and religious temples—that enhance the cultural stories woven into each image. Lighting and color are pivotal in shifting perceptions: natural tones accentuate the authenticity of the subjects, while innovative shadow play invites contemplation.
The individuals featured in the photographs range widely in age, from elderly Hokkien speakers reminiscing about pre-independence Singapore to younger participants reconnecting with their linguistic heritage. Each portrait is paired with a short anecdote or quote in Hokkien, occasionally romanized, along with an English translation, amplifying the voices of communities that have often been marginalized in the broader national narrative.
### Language, Identity, and Marginalization
A prominent theme in *“Wa Leng Wa Hor”* is the sidelining of dialects and ethnic subcultures amid modernization and nation-building efforts. After gaining independence, the Singaporean government promoted Mandarin as the common language for Chinese Singaporeans to unite diverse dialect groups and foster a sense of national unity. This, unfortunately, resulted in a significant drop in dialect fluency among younger generations.
Tan’s photographic endeavor addresses this issue by elevating the Hokkien dialect as not just a medium of communication but also a repository of lived experiences. The portraits are not merely nostalgic reflections of the past but deliberate acts of cultural preservation. Emotions captured in the series—whether laughter, determined expressions, or quiet contemplation—underscore that identity is a dynamic construct, resilient, and profoundly personal.
### Community Involvement and Showcase
*“Wa Leng Wa Hor”* initiated as a community-centric project, with Adri Tan deeply engaging local residents in Singapore’s heartland neighborhoods such as Toa Payoh, Bukit Merah, and Chinatown. Through collaborations with community centers, language preservation groups, and even local coffee shop proprietors, Tan ensured that the project remained genuine and rooted.
The series debuted in 2023 at the Objectifs Centre for Photography and Film in Singapore, receiving praise for its raw truthfulness and artistic depth. The photographs were printed with QR codes that enabled viewers to access audio recordings of the quotes in Hokkien, further enhancing the multisensory experience.
### Connecting Generations
A remarkable achievement of Adri Tan’s work is its resonance with both older and younger audiences. Elder viewers often feel a sense of validation and pride, while younger generations are encouraged to rediscover and engage with their heritage. The project has also initiated intergenerational dialogues about language, tradition, and the meaning of “being Hokkien” in the 21st century.
### Final Thoughts
*“Wa Leng Wa Hor”* transcends being merely a photographic series—it represents a cultural movement as captured through Adri Tan’s keen vision. By combining aesthetics with advocacy, Tan creates a platform to honor voices that have frequently remained unheard. In doing so, he redefines beauty not as conformity to outside expectations but as a self-affirming acknowledgment of one’s roots, languages, and lived experiences.
In a world increasingly standardized through globalization, *“Wa Leng Wa Hor”* emerges as a visual call to remember, to celebrate, and ultimately