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I edited my part and added more information, I think I might have put too much information (about 1200 words), and maybe repeated some parts Oli wrote. Also, I thought my slides were referenced? - Bella http://www.petrowilliamus.co.uk/murals/background/background.htm http://voicesinwartime.org/sites/default/files/images/changi_map.gif



http://hansamethini.blogspot.com/2009/04/8-changi-january-1943.html http://www.rafchangi.com/reports/changi-mural/ http://www.news.com.au/national/pow-veteran-arthur-rex-crane-living-a-lie/story-e6frfkvr-1225782426137

Bella, I think you should ad this paragraph from my script to your part as it applies more to the context of the war.
 * Firstly, Britain was fighting its own war on the home front, meaning it could never have fully committed to another in the Pacific. Expenses, resources, people etc. In addition, the military strategy it implemented alone had clear flaws within. Britain could not prioritize which region was more important to commit to. Malaya, Singapore or both. Thus, insufficient resources were distributed to Singapore’s military during time of need. Also, the establishment of the Singapore Naval Base, previously hailed as one of the greatest in South-East Asia during the time, had been situated on the wrong side of the coast. The British General Percival’s anticipation of attack from the northeast was wronged when the Japanese fleet invaded from the north-west. As Hack expressed, “Guns uselessly pointing out to sea.” **

Yep I've added the source links to the photos below. Anything else that needs to be done? Alec.

That's fine, if you could just give me the sources of the pics too would be good. Bella, could you also source your pics in the slides. Oli.

Oli,

These are the photos that I reckon I should put in my part of the powerpoint. Just maybe two on each slide or something. I tried to find the photos of St Lukes Chapel during WW2 but I could only find more recent photos but I reckon these photos will be fine.

Cheers mate.

Alec.

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__ (3) The effects of World War II​ on British Colonialism in Singapore __ //Oliver Neoh//

Next, we analyse how the Murals is a significant source to identify the downfall of British influence in Singapore and what it symbolized for the future shaping of Singapore. __ SLIDE __ Firstly, being a British colony founded by the Far East Company in 1819, Singapore was a shining symbol of Britain’s influence in Asia. It served numerous roles for the Empire. Despite it’s minute size as a nation, King George VI referred Singapore as the “Gibraltar of the East”. Britain utilized Singapore as the main shipping route for trade between India and China, an important source to its Empire’s finances and imperial communications as well as being the transit point for information travelling from Britain to the Far East. During colonial times, it blossomed to be one of the most important British ports abroad. The country’s economic structure was a combination of Adam Smith and Confucian theories, with its most valuable resource being the Singaporean people and their skills – something that was unique during the time. Britain introduced culture, economics, religion and trade into Singapore. It could be said that Singapore was an example of the positive results of colonialism as it flourished to become an extravagant port in which a suitable mixture of Western and Oriental culture meshed together.

__ SLIDE __ In saying this, the Fall of Singapore in 1942 dramatically changed opinion of British influence in South-East Asia. The Murals sent a message of hope in a context of defeat that should not have happened. Very often in publications, the question of “Why did Singapore Fall?” will appear. And quite so, the Japanese victory over Singapore came as a great shock to the whole of Asia and the world.

__ SLIDE __ The truth is that Britain’s Far East defence campaign was a major miscalculation in which later identified major flaws in its governance over the region.

__ SLIDE __ Following the War, the Murals went missing only to be found later in 1958. Likewise, the presence of British influence disappeared significantly. Britain’s colonial agenda after the war drew back to focus on bringing back relations to the Union. However, after experiencing adverse conditions of warfare (severe shortages of food, Changi Prisons, corruption of public sector, opium), the Singaporean people aggregately felt betrayed by their colonizers. The relationship between Singapore and Britain would never be as positive as it was prior to Occupation period. Thus, Singapore’s takeover severely damaged British prestige. It almost confirmed the limitations of British power. After a long-standing history of naval supremacy the Fall of Singapore signalled that the Empire could no longer extend its reach out to the Indian Ocean and beyond. It was a result of miscalculation, a siren call to decolonize. Now, the main priority for the locals was to return back to the status quo of their previous lives.

__ SLIDE __ While the Independence of Singapore only occurred 20 years later in 1965, World War II can be seen as a major milestone in Singapore’s modern history. **Using the Changi Murals as a primary source, certain points can be concluded: (1) the very context in which they were created were unnecessary showing flaws in Britain’s commitment to Singapore, (2) the loss and restoration period of the Murals exemplify Singapore’s wider rejection of British colonialism following the Fall.** The domination of British influence was demoralized due to its cracks witnessed in World War II. Prior to 1942, there was an overall notion that colonialism actually cared for the people however its Fall to Occupation negated this notion. Instead, it brought rise to a new attitude that would develop to be nationalism towards Independence.

__ SLIDE __ Today, only 4 of the 5 Murals have been restored, exemplifying the lack of British presence in modern Singapore. They are displayed in the Changi Chapel and Museum and frequently visited by former British, Australian and New Zealand POWs. And so to conclude, the loss of Singapore in 1942 disrupted the British Empire’s illusion of stability and prestige in the South-East Asian region, ultimately signalling the start of decolonization. **__SLIDE - END__**

__References__

Blackburn, Kevin. //“Reminiscence and War Trauma: Recalling the Japanese Occupation of Singapore, 1942-1945.”// //Oral History//, Vol. 33, No. 2, Memory Work. Pp. 91-98. Oral History Society. 2005. Print.

Hack, Karl. //“Defence and Decolonisation in Southeast Asia.”// Surrey. Curzon Press. 2001. Print.

Hack, Karl and Kevin Blackburn. //“Did Singapore Have to Fall? Churchill and the impregnable fortress”// London. RoutledgeCurzon. 2004. Print.

Kennedy, Greg. //“Symbol of Imperial Defence: The Role of Singapore in British and American Far Eastern Strategic Relations, 1933-1941.” Sixty Years On: The Fall of Singapore Revisited.// Ed by Brian Farrell & Sandy Hunter. Singapore. Eastern University Press. 2002. Print.

Latif, Asad-ul Iqbal. //“Singapore’s Missing War.” Legacies of World War II in South and East Asia.// Ed by David Koh Wee Hock. Singapore. Institute of Southeast Asian Studies Press. 2007. Print

Turnbull, C.M. //“A History of Modern Singapore 1819-2005.”// Singapore. National University of Singapore Press. 2009. Print.

Warren, Alan. //“Singapore 1942: Britain’s Greatest Defeat.”// London. Hambledon and London. 2002. Print.

Bella- Well, this is what I could find for my part. I'm not sure if its covered the question properly, or if I focused on the murals enough, so tell me if I should add/omit anything.Also where do we put the sources? These are what I used


 * R. P .W Havers, RoutledgeCurzon__, Reassessing the Japanese Prisoner of War Experience: The Changi POW Camp, Singapore 1942-5__, 2003.
 * David Nelson, Changi Publication Co.,__The Story of Changi__, 1973.
 * Keith Wilson, Allen & Unwin Australia, __You’ll Never Get Off the Island__, 1989.
 * Kevin Blackburn, Austrlian War Memorila, __Journal of the Australian War Memorial: The historic war site of the Changi Murals: a place for pilgrimages and tourism,__ http://www.awm.gov.au/journal/j34/blackburn.asp.
 * Lisa Lim, Ministry Of Defence Singapore__,__ __1942 - The Changi Murals,__ http://www.mindef.gov.sg/imindef/about_us/history/world_war2/v04n12_history.html, 2000.
 * Peter W. Stubbs, __The Changi Murals__, http://www.petrowilliamus.co.uk/murals/murals.htm, 2011.

//Isabelle Belihomji// The Changi Murals, a series of 5 religious paintings, served as symbols of hope to those men, women, and children held captive at the Changi POW camp during World War II.
 * (1) The brutal context in which they were painted.**

The history behind the murals starts before the War in 1921. Prior to this year, Changi was still a small rubber producing village. The British Government were searching for a suitable location in the Far East to build a new naval base that contained facilities for the maintenance of a large battle fleet. In 1923, after much deliberation, the Committee of the Imperial Defence chose Changi, Singapore to build the base.

In 1927 the locations of the coastal artillery batteries, and calibres of the guns were chosen by a Commission of three officers, lead by Major General Sir Webb Gillman. The locations selected for the main gun batteries was Pasir Laba, Buona Vista, Tanjong Berlayer, Blakang Mati, Pulau Brani, and Changi. These locations provided as good protection for both the naval base and for the entrance into Singapore Harbour. Due to political complications it took many years before the base was finish, the War in Europe had already began before defences were completed.

On the 7th of December, 1941, Japan officially entered the Second World War​ by attacking allied forces in the Pacific. Pearl Harbor being the most infamous incident to occur. This strike coincided with the attacks on the Philippines, Malayan Peninsula, Hong Kong, and a number of other small Pacific islands.

 On the 8th of February 1942, Changi was subject to an artillery barrage, to which the guns replied with great intensity. Due to faults in the guns the attack was highly ineffective. By the 12th of February, the situation in Singapore was desperate. Lt. General Percival ordered the withdrawal of the Changi Garrison to Singapore town. The Changi Fortress defences role was over. Before the withdrawal, engineers exploded the guns.

 On the 15th of February 1942, Lt. General Percival, accompanied by Major Wild, Brigadier Newbigging and Torrance, made his historic walk of shame to the Ford Factory at Bukit Timah. Here the victorious Commander, Lt. General Tomoyuki Yamashita, was waiting for the unconditional surrender of Singapore.

 80, 000 Troops went into captivity.

 The Japanese Imperial Army set up many POW camps. In the southern hemisphere the principle camp was located in Changi. Escape from this compound was proven virtually impossible.

 Throughout the city medical and food resources were scares and the living conditions grim. There was heavy bombing and shelling, many buildings were destroyed and damaged and the electricity and water supplies were cut. Life for the inmates was brutal, there was a clash of culture among the occupants, allied POW were beaten, starved and worked to death by the Japanese soldiers. From Changi the men had to make gruelling journeys by sea or usually by rail to work in Japan, Korea, and Taiwan. The most grievous tasks required of them was to build the Burma – Thailand railway. During these traumatic years, much faith was held in religion and in general hope for an end to the suffering, their symbol of hope were the 5 painted biblical scenes called the Changi Murals.

 The Changi murals were first started in 1942 by British Prisoner of War, Bombardier, Stanley Warren, they were painted in Block 151, Roberts Barracks, under the terrible conditions. At one end of the Block, on the ground floor a small chapel was set up by the prisoners and provided as spiritual comfort for the hospital staff and sick men.

 Stanley Warren was a patient at the hospital; he was inspired to paint the murals whilst lying in bed after hearing a hymn. As he was still not fully recovered from his injuries, he could only work for 10-15 minutes at a time, before needing to rest. The immediate problem Warren faced was acquiring paint and brushes; however he was able to find tins of white paint, billiard chalk, and terracotta and grey paint from the nearby naval base. For brushes he sometimes used human hair or coarse brushes. The first Mural ‘Nativity’ was completed by Christmas 1942, followed by ‘Ascension’. As he didn’t believe he would live long enough, he ensured that at least these two murals were completed so the chapel had a sense of balance. He was successful however in completing all the murals ‘Crucifixion’, ‘Last Supper’, and ‘Saint Luke in Prison’, was completed accordingly.

Also found another library source you might want to check out for further info: http://library.anu.edu.au/search~S1?/X((Singapore)%20)%20and%20(Britain)&searchscope=1&SORT=D/X((Singapore)%20)%20and%20(Britain)&searchscope=1&SORT=D&SUBKEY=((Singapore)%20)%20and%20(Britain)/1%2C73%2C73%2CB/frameset&FF=X((Singapore)%20)%20and%20(Britain)&searchscope=1&SORT=D&6%2C6%2C

Alec, Your section for the presentation looks great so far. Might want to expand on where the soldiers that were put in the Changi Prison were from. Ie. Which battles? Other than that, sounds real good.

I've attached the pics of the 5 Murals below so you can closely reference to them during the presentation. All the images were sourced from

//Blackburn, Ken. " The historic war site of the Changi Murals: a place for pilgrimages and tourism." http://www.awm.gov.au/journal/j34/blackburn.asp, Journal of the Australian War Memorial.//

I'll get my script up and running soon. Also, could we meet sometime Wednesday to get the powerpoint prepared?

cheers, oli

1. Nativity

2. Ascension

3. Crucifixion

4. Last Supper

5. St Luke in Prison

So i wasn't 100% sure what the script was meant to look like. But I gave it a crack and this was what I got for my section. Again I have no idea if this is even on the right track so can you guys tell me what you think and we can go from there. Also not sure about the length - so any suggestions - longer/shorter etc. just tell me.

This was the second part - The hope the Changi Murals brought during the wartime period, especially amongst the POW’s. Cheers, Alec

**The hope the Changi Murals brought during the wartime period, especially amongst the POW’s. **

The Changi Murals held a lot of meaning and was a source of a lot of hope during the wartime period especially for the POWs in Changi.

For the POW’s the murals held meaning in their contrast from the harsh conditions around them and the message of hope they gave. As the Changi prisoners suffered with sub-standard living conditions and not enough food, that would eventually claim about 30% of the prisoners lives, the murals were a source of hope. This was exacerbated by the context in which Warren began painting the murals which was in the midst of the //Selarang Barracks Incident// where 17 000 Allied POWs were forced into the barracks square with little food or water and no sanitation for five days for not agreeing to sign a no escape pledge. It was only once the men started to die from dysantry that the allied commanders capitulated and signed the pledge. In this context the murals were a very important source of hope for these abused POWs.

Firstly, it reminded the soldiers, who were predominantly Christian – coming from Britain or Australia – of their faith and the promise of the better life that awaited them through Jesus, which contrasted against the misery of Changi prison, was a very important promise. Yet, also the message of the murals, that of forgiveness, including one adourned with the message ‘Father forgive them, they know not what they do’ above Jesus on the cross, was important for the POW’s. It reminded the POWs of God’s forgiveness and allowed many to forgive their captors. As Victor Charlton Barnes, the son of English POW Captain Artur Charlton, recalled, “he forgave those who made them suffer”. The murals were also a source of hope through the message of peace, something most if not all of the soldiers wished for. This is especially in Stanley Warren’s nativity scene which is adourned with ‘Peace on earth and goodwill to all men’. This promise of peace was a source of hope for the POWs.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">So for the soldiers in the Changi prison these five murals were a very important source of hope. Contrasted against the terrible conditions of the camps, of the forced labour, the terrible sanitation and the appauling food these murals provided a certain hope for the POWs. A hope for a better life beyond the prison walls and a hope for peace. For many soldiers their Christian faith was extremely important during the war years and Warren’s murals both reflected and reinforced the importance of this faith.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Further, the murals were important for those outside of Changi prison. As the British and Australian POWs were transferred from Changi to other Japanese-occupied areas in the Asia-Pacific region the message of the murals was taken with them. Thus, for those allied soldiers building the Thai-Burma railway or working on the Sandakan airfield the murals and the hope they brought were just as important, as for those POWs able to see the St Lukes chapel in Changi.


 * __Proposal Draft (285 words)__**

The primary source to be analysed is the //Changi Murals// collection. The module in which this source is relevant to is “World War II”, specifically in the context of Singapore. The collection was painted by a British prisoner-of-war, Stanley Warren, and consists of a series of five paintings that depict biblical scenes. The five paintings portray the following scenes: (1) Nativity, (2) Ascension, (3) Crucifixion, (4) Last Supper and (5) St Luke in Prison. The importance of the source is that it was manifested during the Japanese occupation of World War II.

Thus, in our presentation we will examine three main points, (1) the brutal context in which the //Changi Murals// were painted (2) the hope that these paintings brought during the wartime period, especially amongst the POWs and finally (3) the legacy of British colonialism established in Singapore.

The Japanese occupation of Singapore lasted from 1942-1945. With the extremity of any Japanese invasion, Japanese troops demonstrated sheer brutality and ruthlessness against the peoples of Singapore. Our presentation will introduce and acknowledge the origins of the //Changi Murals// by discussing this topic.

In contrast to the atrocities of war, our analysis will present and explain the //Changi Murals// as a medium that brought hope to the suffering. Key to this is the central message of universal love and forgiveness depicted in Warren’s collection. It is important to note that this will be the body of our presentation.

Following this, the legacy of British colonialism will conclude our analysis. The Japanese take-over of Singapore can be perceived as a major step in weakening British colonial rule. The //Changi Murals// is a significant source that can be utilized to inspect British influence on religion, culture and language.

Alright I had a look at the submission method - and we have to post the stuff up here as well. So here is my first effort at the Annotated Bibliography. Any suggestions/changes etc just tell me or make them. too easy. Alec.

__<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Individual and Society in Asia and the Pacific B - Annotated Bibliography __ __<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Oliver Neoh, Bella Belihomji and Alec Renehan __

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">This source looks to be very useful in providing some background information as well as detailing the special significance that the Changi Murals holds for Australians. Kevin Blackburn, the author, is an extremely reliable source being a lecturer at the Nanyang Technological University, Singapore. This article details the spiritual nature of the murals, especially the feelings of the ex-POWs and the impressions of tourists. It also explains the restoration process and in doing so, suggests the great importance of these murals both at the time and now, sixty years on.
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Dr Kevin Blackburn, ‘The Historic War Site of the Changi Murals: A Place for Pilgrimages and Tourism’ (2001) 34 //Journal of the Australian War Memorial//, . **

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">This is the information page for the museum that holds the replicas of the Changi Murals. This source gives the basic details surrounding Stanley Warren’s original murals and their rediscovery in 1958 and their restoration. It also shows one of the murals which gives some indication of Warren’s work as well as discussing the materials he used. In this way this source gives some basic background information which serves as a useful platform for further research.
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">The Changi Museum, //Zone 3: Mural// (2007) The Changi Museum **<span style="font-family: 'Times New Roman',serif; font-size: 12pt;"> <[]>.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">This source was written by an historian and as such represents an authoritive examination of the murals. In examining Stanley Warren’s wartime experience, Stubbs reveals the story behind the five murals. In doing so Stubbs gives a far more in-depth look at the murals and in this way is extremely useful for this assessment. Further, this source focuses on the context in which the murals were painted, not just the conditions in the camp, but on the context of the broader war. In this brutal WW2 context, the message of peace and forgiveness of the murals is far more astounding.
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Peter W Stubbs, //The Changi Murals: The Story of Stanley Warren’s War// (Landmark Books, Michigan, 1st Edition, 2003). **

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">This source comes from the chapter on Singapore in Hutchinson’s book. Whilst there is not a whole lot of information it does add to the general picture these sources give about the Changi Murals and the story behind them. What is perhaps more revealing is that the information is found in a text entitled //Pilgrimage//. The religious conotations of this title reveal the reveaverance with which these murals are regarded in Australia today.
 * <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Garrie Hutchinson, //Pilgrimage: A Traveller’s Guide to Australia’s Battlefields// (Black Inc. Publishing, Victoria, 1st Edition, 2006), 274. **

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Junfeng’s film again reveals the significance of the murals. In displaying the absolute horror of the Changi prison camp and the personal struggle that Stanley Warren endured to produce his five murals, Junfeng gives an insight which no written source could manage. In doing so this source shows a different side of the Changi Murals. It moves away from the academic insight of Blackburn or Stubb’s texts (sources 1 and 3) and gives a far more emotive insight into the murals and their creation. In this way Junfeng’s source is extremely useful.
 * //<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">The Changi Murals //****<span style="font-family: 'Times New Roman',serif; font-size: 12pt;"> (Directed by Boo Junfeng, Withering Travis, 2006). **

Looks good, I'll start the proposal under the Discussion Tab.

Also, Not to sure what the go is here but I have some free time and so I may just start doing the annotated bibliography for the 5 sources below and if we decide on something else that is all good but otherwise at least some of the work will have been started.

So when you guys read this tell us what you think of the idea and we can go from there.

Alec.

So I don't know how this really works but I just clicked 'edit' and this was how it said I could write.

So given our messages earlier I had a bit of a look at the Changi prison stuff. And something we could do which is related to the Changi prison is the Changi murals: [] It looks interesting enough - its a primary source - and it conveys a lot about the prisoners attitudes at the time, and their religious faith even in a POW camp.

Found some other sites to do the annotated bibliography, eg. Australian War Memorial []

Changi Museum []

I think theres a movie on it? - Have a look at the trailer. []

A Book []

And, an except from 'Travellers Guide to Australia's Battlefields'. [|http://books.google.com.au/books?id=L2K_Gr81UqcC&pg=PA274&dq=changi+murals&hl=en&ei=U56KTtCdCImimQWu1aTcBA&sa=X&oi=book_result&ct=result&resnum=8&ved=0CFMQ6AEwBw#v=onepage&q=changi%20murals&f=false]

So I'm not sure - have a look at this and write what you think.

Alec.

=Welcome to Your New Wiki!=

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<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">Symbols of hope are commonly found after devastating events. They are created in desperate hours to encourage and aid people in survival and perseverance. WW II produced many of these inspiring notions, one being the Changi Murals. The Changi Murals, a series of 5 religious paintings, served as symbols of hope to those men, women, and children held captive at the Changi POW camp during World War II.
 * Click on the help link above to learn more about how to use your wiki.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">The history behind the murals starts before the War in 1921. Prior to this year, Changi was still a small rubber producing village. The British Government were searching for a suitable location in the Far East to build a new naval base that contained facilities for the maintenance of a large battle fleet. The ships projected the British naval power as the battleship was, at the time, the most powerful weapon by sea. In 1923, after much deliberation, the Committee of the Imperial Defence chose Changi, Singapore to build the base. The plan was to connect Malaya to Singapore via the base, for shelter form air raids, a RAF station was to be built in nearby Seletar. At this time Japan was still seen as a threat.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">In 1927 the locations of the coastal artillery batteries, and calibres of the guns were chosen by a Commission of three officers, lead by Major General Sir Webb Gillman. The locations selected for the main gun batteries was Pasir Laba, Buona Vista, Tanjong Berlayer, Blakang Mati, Pulau Brani, and Changi. These locations provided as good protection for both the naval base and for the entrance into Singapore Harbour. Due to political complications it took many years before the base was finish, the War in Europe had already began before defences were completed. Students in allied countries studying in the field produced many reports suggesting that Singapore was vulnerable to air and land attack as their defences were still poor, this evidence, however was ignored.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">In1930 the building of Changi was again ceased, as Britain’s Labour Government, lead by Ramsay McDonald, struggled with the Great Depression, thus the defence expenditure suffered and many projects were halted including Changi. The expansion of Japan into Manchuria forced the British National Government to resume work in Changi. The first guns were received in 1936; Changi continued to grow and was completed in 1941.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">On the 7th of December, 1941, Japan officially entered the <span style="-moz-border-bottom-colors: none; -moz-border-image: none; -moz-border-left-colors: none; -moz-border-right-colors: none; -moz-border-top-colors: none; border-collapse: collapse; border-color: -moz-use-text-color -moz-use-text-color #0066cc; border-radius: 2px 2px 2px 2px; border-style: none none dotted; border-width: 0pt 0pt 1px; clear: none; color: inherit;">Second World War​ by attacking allied forces in the Pacific. Pearl Harbor being the most infamous incident to occur. This strike coincided with the attacks on the Philippines, Malayan Peninsula, Hong Kong, and a number of other small Pacific islands. Japanese Imperial guards made a minor attack on Pulau Ubin. The Changi guns fired but since they were poorly supplied with high explosive ammunition, the attack was not very effective.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">On the 8th of February 1942, Changi was subject to an artillery barrage, to which the guns replied with great intensity. Since the artillery was coastal, they were well supplied with destructive ammunition, but had no high explosive shells. The ammunition would therefore bury into the ground before exploding rendering it ineffective. By the 12th of February, the situation in Singapore was desperate. Lt. General Percival ordered the withdrawal of the Changi Garrison to Singapore town. The Changi Fortress defences role was over. Before the withdrawal, engineers exploded the guns.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">On the 15th of January 1942, Lt. General Percival, accompanied by Major Wild, Brigadier Newbigging and Torrance, made his historic walk of shame to the Ford Factory at Bukit Timah. Here the victorious Commander, Lt. General Tomoyuki Yamashita, was waiting for the unconditional surrender of Singapore.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">80, 000 Troops went into captivity.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">During this war, the Japanese Imperial Army set up many POW camps. In the southern hemisphere the principle camp was located in Changi. Escape from this compound was proven virtually impossible.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">Throughout the city medical and food resources were scares and the living conditions grim. There was heavy bombing and shelling, many buildings were destroyed and damaged and the electricity and water supplies were cut. Life for the inmates was brutal, there was a clash of culture among the occupants, allied POW were beaten, starved and worked to death by the Japanese soldiers. From Changi the men had to make gruelling journeys by sea or usually by rail to work in Japan, Korea, and Taiwan. The most grievous tasks required of them was to build the Burma – Thailand railway. During these traumatic years, much faith was held in religion and in general hope for an end to the suffering, there symbol of hope were the 5 painted biblical scenes called the Changi Murals.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">The Changi murals were first started in 1942 by British Prisoner of War, Bombardier, Stanley Warren, they were painted in Block 151, Roberts Barracks, under the terrible conditions that the POW were forced to live in. At one end of the Block, on the ground floor a small chapel was set up by the prisoners and provided as spiritual comfort for the hospital staff and sick men.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">Stanley Warren was a patient at the hospital; he was inspired to paint the murals whilst lying in bed after hearing a hymn. As he was still not fully recovered from his injuries, he could only work for 10-15 minutes at a time, before he needed to rest again. The immediate problem Warren faced was acquiring paint and brushes; however he was able to find tins of white paint, billiard chalk, and terracotta and grey paint from the nearby naval base. For brushes he sometimes used human hair or coarse brushes. The first Mural ‘Nativity’ was completed by Christmas 1942, followed by ‘Ascension’. As he didn’t believe he would live long enough, he ensured that at least these two murals were completed so the chapel had a sense of balance. He was successful however in completing all the murals ‘Crucifixion’, ‘Last Supper’, and ‘Saint Luke in Prison’, was completed accordingly. The words chosen to go with the murals were to emphasis a common humanity between the prisoners and their captors.

<span style="display: block; height: 1px; left: -40px; overflow-x: hidden; overflow-y: hidden; position: absolute; top: -25px; width: 1px;">In 1944 the Changi airfield was completed by the POW. They were then moved out of Block 151 by the Japanese. Parts of the chapel walls were demolished and the murals painted over, the building was turned into an administrative block. The murals remained hidden until after the war. In 1958 they were again recovered by the British Royal Air Force.