The Development of the Kusu Island Pilgrimage, from the 1950s

The Development of the Kusu Island Pilgrimage, from the 1950s—Present

Rui En Pok

School of Anthropology and Museum Ethnography, University of Oxford

Pilgrims at Kusu Island, Singapore. Photograph by Alan J. A. Elliott. October 1950. MAA T.54776.ELT.

The Kusu Island pilgrimage is a historic practice which has been ongoing since the mid-19th century, and continues to this day. Every year during the ninth lunar month, thousands of devotees travel from all over Asia to about 5.6 kilometres south of mainland Singapore to pay respects at the Keramat Kusu and the Kusu Tua Pek Kong Temple. They pray for a myriad of things, from good health to fertility and luck with the lottery.

In the summer of 2023, I visited Kusu Island with a collection of photographs from MAA and befriended several devotees, including the caretakers of each place of worship: Mr K and Mr W (pseudonyms). They generously shared their time and stories with me, discussing changes to the Island that they have observed or heard from their parents and grandparents. Much of this exhibition’s content is derived from these conversations.

Alan J. A. Elliott

The photographs that I took to the Island were made by British anthropologist Alan J. A. Elliott best known for his work on Chinese spirit-medium cults in Singapore.

Elliott, trained at the London School of Economics and Political Science, researched these cults in Singapore between 1950 and 1951, contributing to his 1955 book on the subject. During this period, he photographed various Chinese folk religious practices and rituals.

With Singapore gradually returning to normalcy after the end of the Japanese Occupation, the Kusu Island pilgrimage attracted massive crowds in 1950, as Elliott’s photographs depict. I believe his contacts within the Chinese community at the time also introduced him to the pilgrimage, which he seems to not have written about, despite photographing its scenes.

A European man carrying an infant child, with a European woman on his right, standing on the deck of a ship.

The anthropologist Alan J.A. Elliott, his wife Muriel Ann Elliott and their infant son on board a ship, probably on their way to or from Alan's fieldwork in Singapore. Photograph by Alan J. A. Elliott. c. 1950–51. MAA N.54750.ELT.

MAA cares for 1,673 images made by Elliott. 54 of these are related to Kusu Island. These include 34 film negatives, 8 colour transparencies, and 12 black and white prints, resulting in 42 distinct images of the Kusu pilgrimage from 1950.

Before I took these photographs to the Island in 2023, the caretakers were completely unaware of them. On the request of Mr K, Keramat Kusu's caretaker, I assisted MAA in ‘digitally repatriating’ 32 of these photographs to him, sharing digital copies for his family’s collection. I also shared prints of two photographs with Mr W, the Temple's caretaker, for him to add to his existing display of historical photographs of the temple.

Four women sit, smiling, together. In the centre a European woman, possibly Muriel Ann Elliott, in a check patterned dress and pearls, sits arm in arm with an older Chinese woman on her left and a younger Chinese woman on her right.

Muriel, Elliott's wife, among Kusu pilgrims. Photograph by Alan J. A. Elliott. October 1950. MAA N.54313.ELT.

Three Chinese women, one older and two younger sit on a stone wall in an outdoor space with a heap of stones behind where a group of men and women are standing. On the right, the older woman wears a plain blue collarless blouse, buttoned at the side and has her hair tied back. Beside her, a possibly pregnant woman wears a striped shirt and a pastel coloured print skirt. On the left is a younger woman wearing a cheongsam printed with flowers. Next to the women is a man in a short-sleeved shirt and trousers, standing with his left leg on the wall.

The same women featured in the previous photograph. Reportedly, during this period the bulk of pilgrims were women, who would pray for the prosperity and health of their families. Photograph by Alan J. A. Elliott. c. 1950–51. MAA T.54757.ELT.

Keramat Kusu

In Singapore and Malaysia, keramat are sacred shrines where people pay respects to saints or holy persons. Keramat worship is thought to have originated from pre-Islamic Malay animism and early Sufi Islam. It is believed that spirits are tied to particular natural landscapes and elements like trees and rocks.

Pilgrims at the outcrop leading to Keramat Kusu on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54289.ELT.

Keramat Kusu is a family of three shrines. The first shrine built here was for a Datuk/Datok Kong, saints of highly venerated figures in society. ‘Datok’ and ‘Kong’ both mean ‘grandfather’ in Malay and Chinese, respectively.

Keramat Kusu is located atop an outcrop covered by dense foliage, and one has to ascend about 152 steps to reach the shrines.

Pilgrims ascending the steps at Kusu Island to get to the keramat. Photograph by Alan J. A. Elliott. October 1950. MAA N.54283.ELT.

Pilgrims ascending the steps at Kusu Island to get to the keramat. Photograph by Alan J. A. Elliott. October 1950. MAA N.54283.ELT.

The Datok Kong keramat was built in the early 1800s to commemorate a respected pious man named Syed Abdul Rahman. He was said to have ascended the outcrop but never returned. The night of his disappearance, his friend Jumaat dreamt that Syed asked him to build a shrine for him. In 1819, Jumaat set up a small bamboo hut on the outcrop, creating the Datok Kong keramat.

Although keramat worship is not formally associated with Islam in Singapore today, Syed Abdul Rahman was Muslim, and so the Islamic symbol of the Crescent and Star can be seen around Keramat Kusu.

Pilgrims surrounding a keramat. Photograph by Alan J. A. Elliott. c. 1950–51. MAA T.54782.ELT.

There are two other shrines at Keramat Kusu. The photograph on the left shows devotees crowded around them. One keramat is for Puteri Sharifah Fatimah (whom Mr K calls 'the sister'). The other is dedicated to Nenek Ghalib or Datok Nenek, the ‘grandmother’ spirit known to bless devotees with peace and safety, and notably couples with children. Both were added at some point in the 19th century with generous donations from several Chinese and Peranakan devotees.

Keramat for Nenek Ghalib or Datok Nenek at Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54294.ELT.

Keramat for Nenek Ghalib or Datok Nenek at Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54294.ELT.

Mr K identified Datok Nenek's keramat as hers because of a wrapped tree trunk in the background. He explained that a long time ago, Chinese tycoon Hong Lim and his wife prayed at the tallest tree on the outcrop for children. When their wish was granted, Hong Lim funded the construction of a concrete structure for the Datok Kong keramat. The sacred tree, its trunk now wrapped in yellow cloth, thus became known as the residence of the Datok Nenek spirit, who blessed devotees with children.

Since its conception, Keramat Kusu has been under the care of the same family, passed down from Jumaat to the current sixth-generation caretaker.

View of the Tua Pek Kong temple at Kusu Island, Singapore. The building stands on stilts at the edge of the sea and has carved wooden roof.

View of the Tua Pek Kong Temple at Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.53985.ELT.

A red, green and white Chinese-style temple with ornate carvings. In the background is the sea and the skyline of a city.

The temple, photographed from the same angle. Land reclamation works have expanded the temple. Photograph by Rui En Pok. September 2023.

Kusu Tua Pek Kong Temple

Tua Pek Kong, Taoist deity revered as the protector of seafarers, was widely worshipped by Chinese migrants crossing the seas from China to Southeast Asia.

According to Mr W, a small shrine dedicated to Tua Pek Kong was established for local fishermen and villagers, some time before 1923. With the support of donors, the temple was officially completed in the ninth lunar month of 1923, making 2023 its 100th anniversary.

Since then, devotees have visited the temple every year during the same month.

This photograph shows vendors selling decorative trinkets made from coral reefs surrounding Kusu Island.

In the background, we can see that the temple is so packed that pilgrims have climbed onto its roof for respite.

Pilgrims at Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA T.54776.ELT.

Four men stand on the stern of a boat sailing to Kusu Island, which can be seen in the background.

'Boat sailing to Kusu Island (Pulau Kusu) during Double Ninth Festival (重九節, 重阳节, also known as Ninth Month Festival).' [Elliott's listing] Photograph by Alan J. A. Elliott. October 1950. MAA N.54287.ELT.

Contrary to Elliott’s descriptions on photographs of Kusu Island, this pilgrimage is not associated with the Chongyang or Double Ninth Festival falling in the same month.

There are very few photographs of the Tua Pek Kong Temple in Elliott’s Kusu Island photographs. He seems to have been hesitant to portray scenes of prayer at the temple, instead photographing its exteriors. This may have been out of respect or because of the crowds at the temple.

In the centre front, on the ground is a heap of printed fu (符, charm papers) with wisps of smoke coming from them. Behind the papers, an older woman (cropped by the frame) stands wearing dark trousers and a blouse with a handbag over her left arm.

Joss paper (also known as spirit money) being burnt as offerings to the deities at the rocky steps of the temple. Photograph by Alan J. A. Elliott. October 1950. MAA N.54312.ELT.

Men, women and children holding joss sticks, facing out of a Chinese temple with carved and painted walls and ceilings.

Devotees offer their respects to deities other than Tua Pek Kong at the temple. In the centre, a devotee prays to Tian Gong, the Jade Emperor. Photograph by Pok Cheng Chong. October 2023.

Devotees holding joss sticks stand in two lines to pray. Scrolls with Chinese characters are pasted on the pillars of this temple.

Devotees lining up to pay respects to Tua Pek Kong and Guanyin, the Goddess of Mercy. Photograph by Pok Cheng Chong. October 2023.

Cross-Worshipping

The Kusu Island pilgrimage is unique for its ‘cross-worshipping’, where devotees visit two different religious sites, exemplifying the religious diversity and harmony of Singapore.

The close relationship between Keramat Kusu and the Kusu Tua Pek Kong Temple is evident in the use of common Chinese temple worship materials at the keramat. Devotees begin at the Datok Kong shrine, either by offering joss sticks or holding their palms together. Joss paper is also burnt at the keramat, as offerings to the saints.

Pilgrims surrounding a keramat. Photograph by Alan J. A. Elliott. c. 1950–51. MAA T.54782.ELT.

Mr K arranges joss paper and candles in a bundle for pilgrims to use in their prayers. Photograph by Pok Cheng Chong. October 2023.

Mr K arranges joss paper and candles in a bundle for pilgrims to use in their prayers. Photograph by Pok Cheng Chong. October 2023.

Following the Taoist tradition of tiamyew, for a small donation Mr K also helps devotees add oil to oil lamps at the shrine, which symbolise their offerings to the deities. He also continues the tradition of chanting blessings in Hokkien for devotees, a practice that has been ongoing for as long as he can remember and most likely during Elliott’s visit as well.

Keramat caretaker chants blessings in Hokkien for a devotee at the Datok Nenek keramat. Video by Singapur Singapur YouTube channel. October 2016.

Although common amongst Chinese Taoists, the pilgrimage to the temple is not exclusively a Chinese or Taoist practice. Pork and alcohol are strictly prohibited on the Island, including in the temple, out of respect to the Muslim Datok Kong. Pilgrims have also been taught by their parents and grandparents to abstain from pork the day before visiting the Island to avoid offending the deities. Evidently, Muslim understandings of haram are an integral part of the pilgrimage as well.

A negative. Seen from the sea, on the horizon is a small, low-lying island with a higher clump of trees in the centre right.

Seen from the sea, on the horizon is a small, low-lying island with a higher clump of trees in the centre right.

View of the temple and keramat outcrop as one approaches the Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54318.ELT.

A Chinese temple on the left, connected to a forested outcrop on the right. The sea is in the foreground.

View of Kusu Island from the harbour. Photograph by Rui En Pok. August 2023.

Under a canopy of leaves, a long table is laid with large dishes of noodles and other food, and stacks of rice-bowls. On the right two women sit at the table, while a group of men stand to the left.

Pilgrims at the food stalls on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54314.ELT.

A large crowd walk along a street lined with stalls and buildings with attap roofs. The sea and another island can be seen above the buildings.

Pilgrims throng a street lined with hawker stalls selling soft drinks and other goods. Photograph by Alan J. A. Elliott. October 1950. MAA T.54775.ELT.

A signboard that reads 'Food Centre'. Round tables with stools in the background, where people gather with food and drinks.

The food centre at Kusu Island opens only during the pilgrimage season annually. Photograph by Pok Cheng Chong. October 2023.

Two tortoise sculptures. In the background is a Chinese temple and a collection of solar panels set up in a shallow lagoon surrounding the temple.

Two tortoise sculptures located near the Temple. In the background are solar panels in the lagoon. Photograph by Rui En Pok. August 2023.

A sculpture resembling a large pink lotus flower supported by green bamboo stems rises up from the water of a shalllow lagoon. A sign that reads 'Wishing Well' is painted on the walls surrounding it.

The first wishing well on the Island was installed by the authorities during the 1970s. In this contemporary iteration located right outside the Temple, pilgrims aim to strike the three bells in the centre of the lotus flower with coins, hoping that their wishes will come true. Unbeknownst to many devotees, the money accumulated in the well does not go to the Temple, but is collected by the authorities. Photograph by Rui En Pok. August 2023.

Post-1970s developments

Since the colonial period, the Kusu Island pilgrimage has been celebrated as a symbol of Singaporean racial and religious harmony, with pilgrims honouring both Chinese and Malay places of worship. After Singapore’s formal independence in 1965, developing Kusu was seen as important to nation-building and national economic development. In 1974, the postcolonial government announced plans for developing the Island, supporting land reclamation.

Before the 1970s, and during Elliott's visit, hawker stalls selling food, drinks, and pilgrimage paraphernalia operated around the base of the outcrop.

However, after the 1970s, the government constructed new facilities like a food centre, streetlights, pathways, and heritage signboards.

The name ‘Kusu’ is derived from the Hokkien words 龟屿, meaning Tortoise Island. This name is believed to have been inspired by the Island's tortoise-like shape, with the temple as the head and the keramat outcrop as the shell.

Another story suggests that a giant tortoise transformed itself into a piece of land to save two drowning fishermen, one Malay and one Chinese, thus forming the Island. Thereafter, a shrine dedicated to the Malay and a temple to the Chinese were set up on the Island, giving rise to the pilgrimage.

Capitalising on the symbolism of the Island’s name, the government installed tortoise sanctuaries and statues of tortoises around. In 2023, a system of solar panels arranged in the shape of two tortoises were also installed in the lagoon outside the Temple.

Today, there is uncertainty about the future of the pilgrimage and the island. Both Mr K and Mr W expressed concerns about finding successors, as most pilgrims are now older, with few young people participating. They worry that the pilgrimage is losing its relevance and popularity. Furthermore, the government, with its focus on development, emphasises that economic factors take precedence over heritage preservation in urban planning.

There is a sense of anxiety that another part of cultural heritage might be lost if insufficient action is taken to raise awareness about the colourful history of the pilgrimage. Inviting more interest and donations to these places of worship is essential for their longevity and preservation.

A large number of Elliott’s Kusu Island photographs depict the journey. These photographs are variously captioned as 'Boats sailing to Kusu Island' or 'Expedition to a festival on an island in Singapore harbour'. Perhaps he was aware of the significance of the boat journey to the pilgrims. Photograph by Alan J. A. Elliott. c. 1950–51. MAA P.62846.ELT.

A large number of Elliott’s Kusu Island photographs depict the journey. These photographs are variously captioned as 'Boats sailing to Kusu Island' or 'Expedition to a festival on an island in Singapore harbour'. Perhaps he was aware of the significance of the boat journey to the pilgrims. Photograph by Alan J. A. Elliott. c. 1950–51. MAA P.62846.ELT.

He emphasised that the extended sea journey to the island and its challenges were essential for demonstrating true faith. According to Mr W, devotees believe that crossing the sea symbolises entering a spiritual realm where divine protection is stronger. Crossing the sea is thus a highly symbolic act and one's means of doing so is an important aspect of the pilgrimage. As the devotee lamented, modern comforts mean the pilgrimage is ‘no longer a journey of faith’.

At the same time, Mr W felt that land developments brought unprecedented crowds to the Island, making the late 1970s, the peak of the pilgrimage. He recalled one weekend when over 20,000 people visited the Island, and his family had to hire extra help to manage the crowds. He smiled, adding, ‘We had our fun in the past, but we also didn’t have income'.

He agreed that development had increased accessibility, brought in more donations to sustain places of worship on the Island, and allowed the gods and spirits to receive more devotion. And so, from his perspective, development hasn’t destroyed the pilgrimage’s purpose but transformed it. Pilgrims now demonstrate faith less through the journey, relying on other ways like placing offerings at the places of worship.

Journey to the Island

In 1950, bumboats to Kusu Island departed from Clifford Pier. However, during my visits to Kusu, I took modern, air-conditioned double-decker ferries from Marina South Pier, which opened in 2006, with tickets available online or at the pier. While these upgrades made the journey more comfortable and accessible, a devotee remarked that they undermine the purpose of a pilgrimage.

A ferry stopping at the Kusu Island pier. Photograph by Pok Cheng Chong. October 2023.

A ferry stopping at the Kusu Island pier. Photograph by Pok Cheng Chong. October 2023.

Plush toys and dolls placed as offerings at the sister shrine at Keramat Kusu. Photograph by Rui En Pok. July 2024.

Plush toys and dolls placed as offerings at the sister shrine at Keramat Kusu. Photograph by Rui En Pok. July 2024.

Journeys between the Temple and the Keramat

Land reclamation also created a walkable path between the temple and keramat, a major change from Elliott’s time and most noticeable when comparing his photographs of the landscape with those made today.

Elliott’s photographs document shifting tides in a single day, showing how devotees could travel between the places of worship either on foot or by sampan. Larger bumboats can also be seen in these photographs, pulling near the Island during high tide to hand pilgrims off to smaller sampan, which could pull up closer to land.

A stretch of sand with sea on either side leads to the Kusu Tua Pek Kong Temple, a building standing on stilts and with tiled roofs.

View of the Temple on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.53983.ELT.

At low tide, one could simply walk across from the keramat to temple.

Pilgrims in the sea by Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54285.ELT.

Elliott’s photographs draw our attention to the joy of pilgrims, young and old, enjoying wading through the water.

Viewed from the water is a single-storey white building, with tiled roofs. A row of boats is moored by the shore while others are being rowed away to the right.

Boats in the harbour of Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54282.ELT.

While state media praised land reclamation for eliminating the need for devotees to ‘scramble out of bumboats and wade through the mud to go ashore’, this narrative overlooks how these actions were integral to the pilgrimage.

A few boats in the sea, with the Kusu Tua Pek Kong Temple is visible in the background.

Boats in the harbour of Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54288.ELT.

These photographs serve as a memorial for landscapes lost to development, and challenge narratives that represent pre-development Kusu Island as backward.

Trees flank a pathway, with a temple in the background.

Exterior view of the Temple on Kusu Island. Pathways and trees stand on reclaimed land surrounding the Temple. Photograph by Rui En Pok. September 2023.

Walkways have been constructed on reclaimed land between the temple and keramat. This photograph was made from roughly the same spot as Elliott, in 2023.

Looking at this photograph of the temple at low tide, Mr W recalled an old hut by the temple where his family welcomed sampan boatmen to rest during busy periods.

View of the Temple on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.53983.ELT.

An unnamed sampan man, possibly ferrying Elliott from one place of worship to another. Photograph by Alan J. A. Elliot. October 1950. MAA N.54307.ELT.

An unnamed sampan man, possibly ferrying Elliott from one place of worship to another. Photograph by Alan J. A. Elliot. October 1950. MAA N.54307.ELT.

This hut was demolished after land reclamation made the work of sampan boatmen obsolete, though traces of it remain at the temple today.

Exterior of the Kusu Tua Pek Kong Temple. Photograph by Rui En Pok. September 2023.

Front view of a shrine. A cloth banner reads 那道公 in Chinese characters, which translates to Datok Kong. Stones are tied with string to the top of the shrine. An oblong stone wrapped with a piece of cloth sits in the middle of the shrine. A curtain with strips of fabric decorated with Chinese characters hang above the stone figure.

View of the Datok Kong keramat on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.53979.ELT.

A group of people is seated in the foreground, apparently eating a picnic, and on the right a young girl looks directly towards the camera. Rocks are tied with ropes and hanging at the bottom of the tree.

View of the sea through the branches of trees on the outcrop on Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.54281.ELT.

Tying Rocks at the Keramat

In addition to the journey to the Island, another sacrificial act during the pilgrimage involved tying stones to high places atop the keramat outcrop. This photograph reminded Mr K of the practice, which Elliott hasn’t mentioned in his caption. Devotees would gather stones from the hilltop and attempt to tie them as high as possible, believing this would increase the likelihood of their wishes coming true. This physically challenging task was a way to demonstrate one's faith.

Similar stones were tied to tree branches outside the keramat.

In the 1970s, authorities advised caretakers to discourage the practice of stone-tying due to safety concerns, fearing the stones might fall on passers-by. Instead, today, people write their wishes on ribbons (which Mr K personally cuts from yellow cloth), and tie them to tree branches to strengthen their wishes to the spirits. While not as challenging as climbing to tie stones, this act still allows devotees to demonstrate their faith in Datok Kong, as shown by the continued popularity of tying ribbons.

Photograph by Rui En Pok. July 2024.

For some, however, old habits persist, as the presence of this stone indicates.

The 2022 fire

In April 2022, a fire broke out at the keramat, destroying most of its original infrastructure, and forcing Mr K to painstakingly rebuild using public donations. By the 2023 pilgrimage, new tiles and floorings were in place. Elliott’s photographs of Kusu include 10 scenes of the keramat itself. Comparing these with current photos, Mr K felt both loss and hope. Elliott’s photos became sources of inspiration and knowledge, as well as important talking points that helped revive conversations about the keramat's history.

Side view of the Datok Kong keramat at Kusu Island, with its new facade post-fire. Photograph by Rui En Pok. July 2024.

Side view of the Datok Kong keramat at Kusu Island, with its new facade post-fire. Photograph by Rui En Pok. July 2024.

Sources of Inspiration

Looking at this photograph of the Datok Kong shrine, Mr K noted that some of the original perforated tiles from 1950 survived the fire and can be found today.

Side view of the Datok Kong keramat at Kusu Island. Photograph by Alan J. A. Elliott. October 1950. MAA N.53980.ELT.

An opened bottle of water at Datok Kong's keramat placed by Mr K as an offering. Behind the bottle is an original perforated tile from the 1950s. Photograph by Rui En Pok. September 2023.

An opened bottle of water at Datok Kong's keramat placed by Mr K as an offering. Behind the bottle is an original perforated tile from the 1950s. Photograph by Rui En Pok. September 2023.

Comparing these two photographs suggests that the tiles in Elliott's images were likely yellow as well. In Singapore and Malaysia, keramat are traditionally painted yellow, a colour symbolising royalty in Malay-Muslim culture. The survival of these tiles gave Mr K a sense of continuity and pride.

Mr K was thrilled to receive Elliott’s photographs, which he found valuable as reference points for reconstructing the keramat after the fire. One photograph of the Datok Kong shrine shows a cloth banner with the characters 那道公 (Mandarin: Na-Dao-Gong), a transliteration of ‘Datok Kong’. This calligraphy banner has since been replaced with a paper version. Mr K expressed that he hopes to restore a cloth signboard like his grandparents had but must wait until the new roof is installed to protect it from the rain.

This photograph also reveals a slight slant in the ceiling and roof of the shrine, a feature Mr K plans to preserve in the reconstruction.

The Datok Kong keramat on Kusu Island, Singapore. Photograph by Alan J. A. Elliott. October 1950. MAA N.53979.ELT.

Sources of Comfort

On a more personal level, Mr K identified relatives in some of Elliott’s photographs, transforming them into treasured family photographs that made him feel less alone in his work. He requested digital copies of these photographs for his family collection, which I helped coordinate with MAA.

In front of gold and yellow tasselled cloth is a pile of crumpled papers. A young man wearing trousers, short-sleeved shirt, vest and a cloth hat stands holding a similar crumpled paper. Behind him is an older man wearing a black hat and a long white robe, carrying fruit. Two more men lean on a wooden picket fence at the side, looking in.

Caretakers of the Datok Kong keramat. Photograph by Alan J. A. Elliott. c. 1950–51. MAA T.54774.ELT.

Among the five siblings of the fourth generation caretakers, Pak Besar, the eldest, oversaw the Datok Kong shrine. He is pictured second from the left, wearing a songkok.

In front of gold and yellow tasselled cloth is a pile of crumpled papers. A young man wearing trousers, short-sleeved shirt, vest and a cloth hat bends down holding a similar crumpled paper. Beside him is a second man in trousers, shirt and white hat, with one hand on his hip and looking upwards.

Caretakers of the Datok Kong keramat. Photograph by Alan J. A. Elliott. c. 1950–51. MAA T.54778.ELT.

Samad, his elder son, is the man in the white headband, while Majid, his younger son, is the crouching man in a songkok. The trio managed the shrine, handling tasks from selling flowers to tending to offerings like tobacco and betel leaves wrapped in crumpled newspapers laid on the floor.

A small group of Chinese women stands under the roof of a small building with whitewashed walls. On one wall is painted a crescent moon and star symbol.

Pilgrims at the Puteri Sharifah Fatimah keramat. Photograph by Alan J. A. Elliott. October 1950. MAA N.54293.ELT.

Mr K identified this photo as showing Puteri Sharifah Fatimah’s shrine. The man in the white headband is Husein, Dara's youngest son, helping out at the shrine. Dara, Mr K’s grandmother and the third eldest sibling, was Pak Besar’s younger sister and in charge of Datok Nenek's shrine.

A Photograph Display

With so many changes to the keramat in recent years, Mr K was determined to preserve its heritage for future visitors. He said:

‘From the old generation to the new generation, let people see that the same thing still exists.'

He praised Elliott's photographs as remarkable and special, since photographs of Kusu from that period are rare; for him, they exude a kind of 'charisma'. Elliott's photographs inspired him to create a display at the keramat.

Mr K also pasted Elliott’s photograph of the Datok Kong shrine at the shrine itself, juxtaposing the 1950 and present keramat. Photograph by Rui En Pok. July 2024.

Mr K also pasted Elliott’s photograph of the Datok Kong shrine at the shrine itself, juxtaposing the 1950 and present keramat. Photograph by Rui En Pok. July 2024.

Eighteen printed photographs arranged on a metal stand, placed on a yellow low wall. Some of the photos are labelled with '1950 Photo', 'Datok Kong', 'Nenek Gralip', 'Datok Nenek', and 'Putri Sharifah'.

I subsequently helped write down the stories he shared with me in a webpage, linked through a QR code pasted beside the photographs. Photograph by Victor Yue. November 2023.

He was enthusiastic that displaying these photographs would encourage visitors to ask about the keramat’s history and stories. The display has since transformed the keramat into a space where the caretaker and devotees can share stories, filling in gaps in Elliott’s photographs and giving them new life. Displaying Elliott's photographs also emphasises the keramat’s strong historical value, supporting its restoration and preservation.

A man stands in front of a display of photographs, speaking to a group of five men and women.

Richard has been helping out at the keramat during the pilgrimage season since 2021. This is him sharing the stories behind Elliott's photographs to some visitors. Photograph by Isjacob Ishak. October 2023.

The Kusu Island pilgrimage has changed significantly over the past half-century. Elliott’s 1950s photographs not only highlight these changes when compared to contemporary images but also help maintain continuity by supporting the community’s efforts to preserve the heritage of the places of worship.

View Elliott's Kusu Island photographs in MAA's collections portal online.