Just visited the new exhibition museum at the Peranakan Museum, “Auspicious Designs: Batik for Peranakan Altars”.
Dear Maria Khoo Joseph, since you are the curator, I’d like to point out a glaring error. Yes, one pendant consists of a tiger’s claw (which is pointy and flat-ish). The other, I’m embarrassed to point out to you, is NOT a claw as the label says; it is pointy and rounded (and SO different visually from the real claw), therefore making it a canine instead.
The following are not ‘errors’, but more of of sloppy ‘curator-ship’. You seem to describe anything that is stitched ‘on-top-of’ the cloths as ’embroidery’, which I suppose you are not wrong, strictly speaking. But as a curator dedicated to Peranakan objects, I would expect you to share a bit more info about the different types of ’embroideries’ used on these cloths. For example, some are simply stitches stitched in-and-out of the cloth, while others are knotted before being tightened. One cloth on the lower floor was embroidered using gold/metal-twined thread – which was a bit more special than the rest of the tok wis, as this must have been costlier to do, and also gives the cloth a raised ‘relief’ while the other cloths were generally flat – but you had also (surprise, surprise) described the decorative technique simply as ’embroidery’.
Perhaps you were simply playing to the audience; most Peranakan visitors would already know to a certain degree what they are looking at, and therefore you did not feel that you had to ‘over-analyse’ the objects. But let’s not forget many visitors – Peranakan included – are relatively clueless, and that’s why they need a curator to point out and ‘interpret’ stuff for them.
In terms of scholarship, this perhaps signals a slight difference between the exhibitions done at ACM Empress Place and Peranakan Museum (both headed by Alan Chong). At ACM, each important temporary exhibition is normally accompanied by a catalogue, where a certain degree of academic integrity is needed for something that is ‘in print’. Therefore such exhibitions at ACM give visitors a feeling of ‘strong curatorial input’ from the staff. But at PM, I don’t recall the past few temporary exhibitions being accompanied by academically-rigorous catalogues. As such, since the curators only need to write short/simple wall text, such exhibitions give visitors a feeling of ‘weak curatorial input’. If PM wants to gain a foothold as not just a great ‘local’ museum but one with an international standing, I suppose the curators should start simply with 1) getting their object-descriptions right, and 2) share more ‘in depth’ info about these how these pretty objects were made (rather than just describing them using the lowest-common-denominator).